HMDHHaaanMa 


NATURAL  MUSIC  COURSE 


FREDERIC  H|l)  f 


&?  THOMAS 
iTAPPE; 


AMERICAN  •  B0DK1"  COMPANY 
NEW  TO^JC  •  CINCINNATI  •  CHICAGO 


Southern  Branch 
of  the 

University  of  California 

Los  Angeles 


Form  L-l 


This  book  is  DUE  on  the  last  date  stamped  below 


JUL  *     191< 


Natural  Music  Course 


HARMONIC 
FOURTH   READER 


BY 

FREDERIC    H.    RIPLEY 

PRINCIPAL   OF   THE  PRINCE   SCHOOL,   BOSTON 
AND 

THOMAS    TAPPER 

LECTURER   ON   MUSIC   AT   THE   INSTITUTE   OF   MUSICAL   ART 
OF   THE   CITY   OF   NEW   YORK 


47206 

NEW  YORK  .-.  CINCINNATI  .-.  CHICAGO 

AMERICAN    BOOK    COMPANY 


Copyright,  1903,  by 
FREDERIC   H.  HIPLEY  and  THOMAS   TAPPER. 


Entered  at  Stationers'  Hall,  London. 


Harmonic  Fourth  Reader. 

E-P     5 


fy 


PI  3  5 
v.  4 

PREFACE. 


The  books  of  the  Natural  Course  in  Music  present  the  study  of  music  as  an 
art.  If  followed  faithfully,  they  establish  a  love  for  music  and  at  the  same  time 
cultivate  the  creative  a'nd  appreciative  faculties.  For  while  they  stimulate 
the  aesthetic  sense  by  presenting  the  finest  examples  of  music  for  the  young, 
they  arouse  and  cultivate  the  inventive  power  by  a  systematic  course  of  ear 
and  eye  training. 

Music  study  thus  conducted  becomes  active,  stimulating,  intellectual.  The 
feelings  which  are  aroused  by  the  singing  are  not  allowed  to  pass  away  un- 
fruitful, but  affect  the  will,  which  in  turn  stimulates  to  action  of  a  highly 
developing  character. 

The  pupil  is  regarded  as  an  active  responsible  agent,  capable  not  only  of 
being  influenced  but  also  of  influencing  others  ;  not  as  an  appreciative  listener 
alone,  but  as  a  possible  creator  of  art ;  not  merely  as  an  instrument  to  be 
played  upon  and  swayed  by  the  leader's  emotions,  but  as  an  independent 
thinker  capable  of  expressing  feelings  peculiar  to  himself. 

The  fact  is  sometimes  forgotten  that  tonal  combinations  are  as  clearly  ob- 
jects of  thought  as  any  of  the  material  used  in  elementary  perception  develop- 
ment. It  is  readily  conceded  that  the  smallest  children  are  capable  of  making 
designs  of  the  colors  and  forms  commonly  used  in  the  primary  school,  but  it  is 
not  so  generally  believed  that  the  same  children  are  capable  of  making  tonal 
designs  or  musical  compositions.  The  fact  is,  however,  that  music  is  so  nat- 
ural and  universal  that  if  tone  combinations  are  distinctly  presented  as  objects, 
the  use  of  them  for  design  becomes  possible  at  a  very  early  stage ;  but  a  diffi- 
culty with  music  arises  frequently  from  the  fact  that  the  period  which  should 
be  spent  in  making  the  members  of  the  tone  family  distinctly  familiar  is  devoted 
to  an  effort  to  establish  certain  ethical  and  oesthetical  principles  which  are 
thought  to  be  established  when  the  child  has  lapsed  into  a  passive  condition 
entirely  subservient  to  the  teacher's  will.  Thus  not  only  is  the  educational 
value  of  elementary  music  as  a  means  of  cultivating  sense  perception  by  hear- 

Har.   Fourth  Reader.  (3) 


4  PREFACE. 

ing  lost,  but  the  foundation  on  which  development  is  based  is  neglected  and 
the  artistic  study  of  music  in  the  upper  grades  is  retarded. 

Training  the  ear  in  tone  perception  is  never  completed.  It  corresponds 
to  drill  on  the  number  tables,  which  is  never  so  perfect  that  it  can  not  be 
improved.  So  in  this  fourth  reader  of  the  Harmonic  Series  the  study  of  tone 
relation  is  continued  and  material  for  review  is  freely  furnished,  together  with 
new  and  varied  combinations  for  advanced  study. 

The  compositions  presented  for  study  are  of  larger  form  and  display  a  more 
artistic  development  than  was  possible  in  an  earlier  book. 

Emphasis  is  placed  on  the  necessity  of  establishing  the  symbols  of  music 
as  the  representatives  of  actual  thought  which  the  mind  receives  without  the 
medium  of  instrument  of  voice,  so  that  the  pupil  shall  be  able  to  study  the 
composition  in  silence,  and  in  silence  to  work  out  his  own  tone  design. 

The  Fourth  Harmonic  Header  presents  the  following  interesting  subjects 
for  study  and  practice : 

1.  Development  of  larger  artistic  wholes,  by  means  of  which  the  aesthetic 
nature  may  be  cultivated. 

2.  Review  material  for  the  further  development  of  tonal  perception  and 
the  increase  of  the  cause  to  study  music  silently. 

3.  Presentation  of  exercises  in  different  modes  (major  and  minor)  for  the 
study  of  harmonic  relation. 

4.  The  study  of  movement  as  expressed  in  more  varied  rhythmic  form. 

5.  The  study  of  advanced  chromatic  modification,  with  a  consideration  of 
resulting  intervals. 

6.  The  theory  of  music  as  expressed  in  the  footnotes  and  applied  in  the 
dictation  work. 

7.  Study  for  voice  culture,  with  special  reference  to  the  change  in  boys' 
voices  and  the  use  of  the  bass  clef. 

8.  An  enlarged  and  carefully  selected  collection  of  songs  in  various  forms. 

9.  A  collection  of  patriotic  and  devotional  songs  for  assemblies  and  special 
occasions. 


Har.    Fourth   Reader. 


DIRECTIONS. 

The  Conditions. —  With  each  advancing  grade  the  conditions  change 
somewhat.  The  difficulties  which  beset  the  beginners  have  passed  away, 
but  new  and  quite  as  serious  obstacles  now  await  us.  The  character  of  the 
school  has  changed,  new,  untrained  pupils  have  come  in,  much  of  the 
elementary  knowledge  and  power  seen  in  lower  grades  is  wanting  here. 
There  is  a  great  unevenness  in  ability.  Self-consciousness  has  asserted  itself, 
and  a  feeling  of  restraint  limits  the  pupil's  efforts.  The  voices  are  grow- 
ing thicker.  The  more  vigorous  boys'  sports  and  habitual  shouting  on  the 
playground  and  in  the  streets  have  roughened  the  tones  There  is  a  very 
general  stiffness  of  the  vocal  organs.     These  conditions  must  influence  us 

in  our  practice. 

The  Voices. 

The  voices  must  be  made  flexible  and  light  by  the  constant  use  of 
vocal  drills,  and  the  control  of  the  breath  must  be  secured  by  intelligent 
phrasing  and  artistic  performance.  The  range  of  tones  is  now  probably 
greater  than  before,  except  with  boys  whose  voices  are  beginning  to  change. 

Vocal  Drills. —  The  practice  of  beginning  high  and  singing  down  the 
scale  must  now  be  combined  with  exercises  moving  in  the  opposite  direc- 
tion, and  exercises  for  flexibility  must  begin  rather  low  and  work  up  by 

degrees. 

Exercise  for  Flexibility. 

etc. 


The  exercise  should  continue  advancing  upward,  a  step  at  a  time,  till 
the  voices  are  pure  and  flexible. 

Holding  the  Tone  and  Changing  the  Syllable. —  Holding  the  tone  and 
establishing  a  new  hey  tone  or  Do  is  a  matter  that  should  be  fully  reviewed 
and  perfected.  Each  pupil's  power  should  be  ascertained  by  individual 
test. 


Her.  Fourth  Reader. 


<5> 


DIRECTIONS. 


Additional  Vocal  Drill  for  Flexibility  and  Correctness  of  Pitch. 


-&-\-r-0-x- 


•->-&- 


i^ssii 


Give  the  correct  pitch  at  the  beginning  and  test  the  pitch  at  the  end. 
When  this  exercise  is  correctly  sung,  it  may  be  extended  upward  one 
degree  at  a  time. 

Many  pupils  in  this  grade  will  be  found  wanting  in  the  power  to  rec- 
ognize either  the  tonality  or  the  syllables  at  sight.  For  their  benefit 
a  little  instruction  and  some  practice  should  be  given  with  the  opening 
lessons.     To  ascertain  the  status  of  the  class  use  the  following  exercises. 

Beginning  at  the  left,  sing  instantly,  calling  the  first  tone  Do.  Then 
call  the  same  tone  Mi,  then  Sol,  then  Fa,  then  La.  Do  the  same  with 
each  group  of  notes  in  turn.  Let  the  recitation  be  individual.  Assign 
similar  exercises  to  slow  pupils  for  home  study.  Continue  the  work  until 
every  pupil  has  the  order  of  the  scale  tones,  the  syllables  and  the  tonality, 
perfectly  at  command.  When  the  first  stage  of  development  is  fully  accom- 
plished, require  the  pupils  to  give  the  tonality  without  giving  the  syllables, 
then  require  them  to  give  the  tonality  with  little  word  groups. 


g&>g 


I 


Exercise. 

c  d 


J2   S    g 


I 


-B-^-Z7 


O 


-& <s>- 


I 


^ 


&>  c'  &- 


II 


Cultivation  of  the  Ear. 

Pupils  will  be  found  who  are  still  unable  to  tell  Do,  Re,  from  Do,  Ti, 
and  whose  perception  of  rhythms  is  equally  bad.  Do  not  relax  the  effort 
till  every  pupil  in  the  class  is  able  to  perceive  simple  tone  relations  from 
hearing.  Add  to  this  the  very  simplest  individual  reading  exercises,  and 
make  sure  that  every  pupil  can  at  least  read  scale  successions  correctly. 

Perception  of  rhythms  and  familiarity  with  simple  rhythmic  figures 
must  be  cultivated  persistently.  In  this  work  make  quick  tests  of  each 
pupil's  power  by  writing  on  the  board  a  collection  or  succession  of  musical 


Har.  Fourth   Reader. 


DIRECTIONS. 


figures  or  phrases  and  call  upon  the  pupil  to  tell  what  each  says.  Thus, — 
The  following  being  before  the  pupils,  the  teacher  may  say,  "What  does  one 
say?"  then  jive,  two,  and  so  on,  referring  to  the  phrases  on  the  board.  The  pupil 
should  instantly  respond  with  the  movement,  giving  the  measures  as  wholes. 

Exercise. 
2 


Note.    The  figures  should  be  varied  and  increased  in  variety  until  every  combination  used 
in  the  book  is  entirely  familiar. 

Dictation. —  The  elementary  steps  should  be  reviewed  and  enforced  by 
means  of  dictation.  Rapid  oral  dictation  first  for  tonality  and  then  for 
rhythm  should  be  given  at  the  opening  of  each  lesson.  In  this  exercise 
Mie  teacher  should  sing  or  play  such  simple  combinations  as  Do,  Ti,  Do ; 
Do,  Re,  Do ;  Do,  Sol,  Mi,  Do,  and  the  like,  using  the  syllable  loo,  and  the 
pupils  respond  with  the  tones  and  the  syllables. 

For  rhythms  the  teacher  sings  simple  measures  as 
1  2  3  4 


and  calls  upon  the  pupils  to  tell  the  kind  of  notes  used  in  two-four  meter, 
and  how  the  same  figure  would  be  represented  in  two-two  meter. 

Written  Dictation. —  The  work  in  dictation  which  is  called  written  dic- 
tation is  precisely  like  oral  dictation  except  in  the  matter  of  recitation.  In 
written  dictation  the  pupil  writes  what  before  he  gave  orally.  Written  dicta- 
tion is  necessarily  slower  and  hence  can  hardly  form  a  part  of  every  exercise. 
The  writing,  too,  may  be  done  by  a  single  pupil  at  the  board,  or  it  may  be  a 
class  exercise  written  on  ruled  paper.  In  this  case  it  becomes  a  general  test 
and  is  very  useful  in  estimating  the  individual  ability  of  the  pupils. 

Hmr.  Fourth  Read«r. 


8 


DIRECTIONS. 


Summary. 

The  various  lines  of  work  suggested  here  are  carried  forward  in  the 
book  to  the  end.  Additional  exercises  for  vocalization  and  dictation  will 
be  found  in  the  proper  places.  The  theory  of  music,  which  now  becomes  a 
matter  of  some  importance  to  the  children,  is  provided  for  under  the  head 
of  Dictation,  while  the  terms  used  in  music  are  explained  in  the  footnotes. 
We  do  not  require  the  definition  of  symbols  when  the  definition  is  a  statement 
of  their  use,  as  the  correct  use  is  sufficient  evidence  that  it  is  understood. 

Teaching  Chromatic  Tones  and  Advanced  Rhythms. —  Nearly  every  pos- 
sible combination  of  chromatic  tones  may  be  given  as  the  natural  scale  tones 
in  another  key.  This  fact  is  illustrated  again  and  again  in  the  lessons  in 
the  book,  and  in  chart  drills.  Similarly  every  rhythm,  however  com- 
plicated, will  be  found  on  analysis  to  be  but  a  new  combination  of  elements 
already  made  familiar  by  the  analysis  given  in  the  chart. 

The  intimate  relation  between  rhythms  and  tonal  groups  makes  the 
advanced  study  of  either  dependent  in  a  measure  on  the  other.  Thus  in- 
tervals which  by  themselves  seem  very  difficult  often  appear  to  be  but  a 
necessary  correlative  of  certain  movements.  Hence,  the  movement  of  the 
music  should  be  fully  in  mind  when  the  interval  is  attempted.  For  exam- 
ple, the  following  exercise  contains  two  little  phrases  which  are  precisely 
alike,  and  when  so  considered  it  becomes  entirely  easy.  If  the  exercise  is  taken 
note  by  note,  an  awkward  interval  occurs  (#1  to  5) ;  but  this  interval  dis- 
appears altogether  when  we  sing  the  first  phrase  by  itself,  stopping  on  $1, 
and  then  sing  it  again,  going  on  to  the  end. 


W 


3 


§^H 


'<• 


;=* 


5 


¥ 


f* 


w% 


The  effect  produced  by  such  sudden  key  changes  as  this  illustration 
affords  are  made  familiar  to  our  pupils  by  the  continued  practice  of  the 
chromatic  studies  given  in  the  charts.  This  study  when  systematically 
taken  as  prescribed  gives  a  taste  for  music  which  else  could  be  acquired 
by  instrumental  study  only. 

Hsr.  Fourth  Readtr, 


PAET  I. 

Vocal  Drill.* 

To  be  sung  from  different  pitches. 


^^^5i=SJS|E£p 


Ch.  Ser.  G,  pages  1  and  2. 
Ex.  1. 


g=K-^-^b 


II 


Lffi± 


W 


-+—^ 


Ch.  Ser.  G,  page  2. 
Ex.2. 


I 


I 


§3 


§^ 


Ex.  3. 


m 


s 


^   * 


*  i  * 


■* — *~ 


Ex.  4. 


feiiEfr=r=rng 


I 


^ 


Ex.  5. 


<< 


3^^ 


II 


-*— «- 


r    Staff,     fe   Clef.      I   Bar.       H   Double   Bar.      2j  3,  4?    Meter    Signatures 
.  Sn  I  II  4-4-4 

rjj:    Repkat. 

*  Vocal  Drill,  see  Directions,  page  5. 


Har.   Fourth   Reader. 


(9) 


10 


Ch.  Ser.  G,  pages  4  and  3. 
Ex.  6. 


Study  of  Chromatics. 


Ex.  6.  Ex.  7.  Ex  8. 


Do.ti,  do. 


Sol,  fi,  sol. 


Ex.9. 


fr  jj  jU|j  jiyji^^  W  jiffr^a 


*  Ch.  Ser.  G,  page  12,  Ex.  1  and  2. 
Ex.  10. 


S 


ifcafc- 


3 


IN 


=t 


3=5 


II 


Ex.  11. 


See 


Ft 


"SIS 


i=2ii 


I 


BEGONE!   DULL  CARE. 


Ch.  Ser.  G,  page  16,  Ex.  2. 
^  Allegretto. 


i 


mp 


^ 


^=^ 


English  Air,  17th  Centurt. 

TJ ^ 


fegiS 


=fc 


1.  Be -gone!  dull     care,  .  .       I     prith- ee,    be-  gone  from   me,  ...      Be - 

2.  O,     too    much    care   .  .     Will  make  a  young  man   turn    gray,    .  .     And 


5EBE 


mm 


/ 


:fcgx=g: 


m 


8 


3SE? 


^sa 


£± 


I  Sharp.        b  Flat.        &  Natural. 


B-S— 


Key  Signature. 


A  sharp,  flat,  or  natural  used  as  in  Ex.  7,  is  called  an  accidental,  and  the  tone  which  it 
indicates  is  called  a  chromatic  tone. 

Allegretto,  light  and  cheerful,  but  slower  than  Allegro;  f,  forte,  strong;  mp,  mezzo  piano, 
moderately  soft;  mf,  mezzo  forte,  moderately  strong. 

*  See  directions  for  Chromatic  and  Rhythmic  teaching,  page  8. 

Mar.  Fourth  Reader. 


11 


# 


mp 


:=fc=|t 


^ 


gone !     dull     care,  You  and      I         shall    nev  -  er        a  -   gree.  . 
too      much  care  AVill     turu     an      old    man     to     clay.    . 


3 


Long 
My 


* 


/ 


5 


WJB 


*r— * 


m^ 


^j^=g^ 


^35 


-*-* — i- 


=3- 


W~0~V 


^E5Et. 


j=^= 


time  hast  thou  been  tar-rying  here, And  fain  thou  wouldstme  kill,  . 
wife  shall  dance  and  I       will  sing,  So  mer-ri-ly    pass  the     day,. 


But  v 
For    I 


;-- 


f-fj  ^j  ft  j-tfjjjj 


^^jE^i^g^^ 


-4*— E-* 

d     d     d 


f*— n 


^~^ 


=t= 


faith,         dull  care,  .  .  .     Thou  nev-er  shall   have  thy    will.  .  . 

hold      it  one    of  the   wis  -  est  things  To     drive    dull    care   a  -    way.     . 


3 


r* 


« 


fcsfe! 


£=f=i 


3S3 


PH 


*"* 


*ee 


&3S 


=fc= 


II 


3ip 


~1 


^F 


H=t=l 


Har.  Fourth  Raadar. 


12 


Ch.  Ser.  G,  page  4.  Ex.  2. 
Ex.  12. 


Ex.  18. 


^-g?  rzj- 


Do, 


Fa,  te,  .    te,        Li, 


Ex.14. 
,1 


f^^Bpll^^ii^^E^i^^lJ 


Ex.  15. 


u 


-4 


4 


ji»  „    J1 


B^S^ 


3S 


II 


Ex.  16. 


3=^ 


j-j-U_j^=j 


r— p 


fSfEEfSfEEi 


J-JL 


fe^fe^ 


I 


3T 


jg^^H 


g> 


-s> — 0 


JS£ZZ3£ 


MS 


Ex.  17.    Ch.  Ser.  G,  page  4.  Ex.  6 


fcfel 


fe^Ei 


3fc=^ 


333: 


*—  -^1  #■  r* 


d=^7e=s=q 


SEE 


3 «_^_^jrES_^|^.^_^__j. 


,      i  jmi^u 


j  J  j  «*  1^3J^jj!;J^'^^ 


I 


t+Tntfm 


p=^^^i( 


'^S 


Har.  Fourth    Rear)»' 


SING  NOT  TO  ME  OF  SUNNY  SHORES. 
Ch.  Ser.  G,  page  4. 
James  Little. 
mf  Con  brio. 


13 


J.  Sneddon. 


-r- 


=t 


* 


^L— ^ 


1.  Sing  not    to    me     of     sun -ny  shores,  Or  climes  where  ol  -  ives  bloom, Where 

2.  Sing  not     of  yon-der   sun -ny  isle, Where  sum- mer      ev  -    er reigns, Where 

3.  Sing  not     to    me     of     sun -ny  lands,  If         ty  -  rants  there    hold  sway, These 


on -ward    still     the   riv  -    er  pours, 'Mid  groves   of     sweet   per-fume.    Give 

or  -  ange  groves  se-rene  -  ly  smile,  And    flow  -'rets    deck    the  plains;  Give 

climb    to    pow'r  with  blood-  y  hands,  And   trem- bling  slaves     o  -bey;     Give' 


me  the  land  where  tor-  rents  flash, Where  loud  the  an  -  gry 
me  the  lands  of  mountains  steep, Where  wild  and  free  the 
me  the  laud  un  -  con-quered  still,    Tho'   oft  -  en    tried  in 


cat-"racts  pour,  As 
ea  -gles  soar. The 
days  of  yore, Where 


wild  -  ly  on  their  course  they  dash ;  We  love  our 
diz  -  zy  crags  where  torn  -q>ests  sweep ; We  love  our 
free  -  dom  reigns    from     plain     to      hill;    We  love     our 


own  dear  shore, 
own  dear  shore. 
own   dear   shore. 


/T«N 


/C\ 


Con  brio,  with  life,  spirit;  — =  or  rres.,  crescendo,  gradually  increase  the  power  of  tone- 
:r=—  or  dim.,  diminuendo,  gradually  decrease  the  power  of  tone;  rail.,  rallefUando,  gradually 
slower  and  softer.     /T\  Hold;  this  increases  the  value  of  a  note  at  least  one  beat. 

Har.  Fourth  Reader. 


14 


MY  BARK  IS  BOUNDING  TO  THE  GALE. 

Felix  Mendelssohn  (1809-1847). 


^ 


tH? 


ft=* 


« 


-* P 


-*— 1  ~P~~Hg 


r 


5E=3 


My  bark      is  bound-ing     to       the      gale,  .       The  sea       is  foam  -  ing 

:t?-E.-*i      ».     d kt-|        *.      i        Is  l-I—  fr Nx  I        & I & 


#=* 


&-*—w- 


w  •    * — '    m    ~w 


^= 


tl 


tes 


§^=t=g=j 


P33C 


fcafc 


-J^-^x- 


t=a 


round  her,    A  -  dieu     to       thee,  .  my       na  -  tive  vale, 


A  -  dieu    to 


XIX 


^§P 


p      dolce. 


-X-^X 


S=53 


i=f: 


thee,  my       na    -     tive  vale,    And    thee    for  whom    I    wan  -  der,  and 


&E 


sisyi^ii 


335^ 


sr 


S 


\*f* 


5pS 


tfl 


thee  for  whom  I  wan  -  der,        and  thee  for     whom     .  I       wan        -       der. 

k-t-      _, — _,__  _ , . — ^-h — ji. 


3 


^tt^: 


-T< 


II 


^ — ^  Tie  ;  two  notes  representing  the  same  pitch,  joined  by  a  tie,  are  sung  as  one  note 
having  their  united  value. 

p,  piano,  softly  ;  dolce,  sweetly,  softly,  delicately  ;  %f,  sforzando,  one  chord  or  tone  to  be 
sung  with  force;  >■  Accent. 

Har.  Fourth  Reader. 


15 


Vocal  Drill. 


Si, 
Ch.  Ser.  G,  page  11,  Ex.  3. 

Ex.  18.  Ex.  19.  Ex.  20. 


lE^=»#figiJ^^gl 


I^Hee?^ 


«*±=t 


Ex.  22. 


Ex.  23. 


iij  j 'nirijl 


Ex.24. 


Ex.  25. 

(a)  Major. 


(b)  Minor. 


# 


33EB 


^aSe^^ 


*=* 


t — ri~ 


'  trtrrr 


£(=*- 


m 


xzn 


II 


^P^ 


■=r 


II 


gg 


3 


^ — * 


-(faP     r~p— f*—<s*— E     _{&     I      ~        I     |    T~f    i*  "*    g>  The  key  signature  shows  the 


Fa,  mi, re,  do.         "     TI,    do,  do. 

position  of  Do.     The  flat  farthest  to  the  right  is  always  on  Fa,  and  the  sharp  farthest  to  the 
right  is  always  on  Ti. 

=>  Whole  Note.  J  Half  Note.  J  Quarter  Note.  ^Eighth  Note.  ^Sixteenth 
Note.  s  Thirty-Second  Note.  •— ■  Whole  Rest.  — •  Half  Rest.  £  Quarter  Rest. 
1  Eighth  Rest,     q  Sixteenth  Rest. 

A  dot  placed  after  a  note  increases  its  value  one  half,  thus:  <=*•  equals  &  #  or  «  *  » 
J  .  equals  J  /  or  /»//}    J\  equals  J*  J*  or  »  J 

H»r.   Fourth  Readet. 


16 


4=1 


Ifis^=S 


lip^^E^ 


^=3^= 


.S^5 JJ 


g^pE^ 


SI 


-*~ * * 


-r^ 


1 


THE  THREE   RAVENS. 

Ch.  Ser.  G,  page  13.  English  Air,  16th  Century. 

Smoothly  and  with  expression. 


1.  There  were  three  rav  -   ens     sat       on  a     tree, 

2.  Be-  hold,     a    -las!      in      yon  green  field, 

3.  His    faith  -  ful     hawks  so     near     him  fly, 

4.  She       lift  -  ed       up      his    ghast  -  ly  head, 

-4- 


Down 
Down 
Down 
Down 


a  down,  hey  - 
a  down,  hey  - 
a  down,  hey  - 
a  down,   hey  - 


The  common  meter  signatures  are  2,  ?,  ^,  §,  ^  £,  ^,  ^,  ^,  '^,  S  and  (£.  The  figures 
show  the  note  value  in  each  full  measure.  The  upper  figure  shows  also  the  number  of  beats  or 
pulses  to  a  measure,  and  the  lower  figure  indicates  the  note  value  of  each  beat.  C  indicates  a 
four  part  measure  and  (j>  a  two  part  measure. 

poco,  a  little;  rit.,  ritardando,  retarding  the  speed  gradually. 

Mar.   Fourth   Reader 


m 


17 


jmp_ 


JL-JL_  ^ 


*=i 


do\vn,hey-down ;  They  were 
down,hey-down ;  There  lies 
down,hey-down ;  No  bird 
down, hey -down  ;And   kissed 


black      as      they     might    be,     With  a 

knight,  slain  'neath     his     shield, With  a 

prey    dare     ven  -  ture     nigh,    With  a 

were       so         red,   With  a 


of 

his  wounds  that 


And  one    of  them  said  to  his  mate,  "Where  shall  we  our 
His  hounds  lie  down  be-side  his  feet, So  well  do   they  their 
But  see !  there  comes  a  fal-low  doe, And  to  the  knight  she 

She   bu  -ried  him  be-fore  the  prime, And  died  her-self  ere 


~J2 


r     r 


= p   poco  rit. 


break  -  fast    take  ?"With   a  down, 

mas    -   ter    keep,   With   a  down, 

straight  doth    go,     With   a  down, 

even -song  time,   Willi   a  down, 


^S 


=*E 


der  -  ry,  der  -  ry,  der  -  ry  down, down ! 

der  -  ry,  der  -  ry,  der  -  ry  down, down  ! 

der  -  ry,  der  -  ry,  der  -  ry  down, down ! 

der  -  ry,  der  -  ry,  der  -  ry  down, down  ! 


Har.   Fourth   Reader. 


18 


Ch.  Ser.  G,  page  11. 

Ex.  27. 

Andante. 


Studies  in  Major  and  Minor. 


Ssh 


Ex.  28. 

Andante. 


mf  1° 


m 


I! 


0     t^_.  -W-9  •+-  -^. 


=*3 


"2^- 


3^3 


tt 


Ex.  29. 

Moderalo 


Ex.  30. 


Moderato.  ^.    rl      !      i       I  „  a  f**1    ""s 

p  ^  p  '  ' 


^gg^^plB^p(i^p(i 


Ex.  31. 

Andantino. 


Ex.  32. 


£§=* 


fc*: 


P 


Q^ 


pp 


^gp^^api^ 


s^3 


d=3s 


■*—■ 1 


w 


Accent.  —  The  first  beat  of  every  measure  should  be  accented,  and  in  T  and  g  meters,  a 
secondary  accent,  weaker  than  the  first,  falls  on  the  third  and  fourth  beats  respectively.  The 
effect  of  the  secondary  accent  in  3j  meter  is  illustrated  by  the  word  com'  pro-mis'  ing. 

Andante,  moderate,  but  flowing;  Moderato,  moderately,  as  to  speed;  Andantino,  a  little 
faster  than  Andante;  pp,  pianissimo,  very  softlv. 

Har.  Fourth  Reader 


19 


WIND   AND   SEA. 


Bayard  Taylor 
With  spirit. 


J.  Spencer  Curwen. 


gbsl 


}L-:te3L-=£: 


The    sea 


_ 1 R5 ^ * ^ +. 

V 0  +* 1— i *^rf=?r 


1/ 

a       jo  -    vial  com  -  ratle,    He  laughs  wher-ev  -  er     he 
Yet    \vel  -  come  are  both    their  voi  -    ces,      I     know      not    which       is 


±4t 


SS 


^ 


B,  i>    Is    r>  ? 


e£ 


E3E3S 


,' 


goes, 
best, 


His     mer  -  ri  -  ment  shines     in  the  dimp  -  ling  lines      That 
The  laugh  -  ter   that     slips  from  the     o  -  cean's  lips     Or  the 


^ 


W=0^ 


ha,     ba, 


&M^?-+- 

=fe^- 

„    dS-dSi 

-f»      « — hr- ^r^~ 

wrin  -  kle     his    hale 
com  -  fort  -  less  wind's 

0    h 

*- 

re  - 
un  - 

pose, 
rest. 

~1 

He 
There's  a 

k— k  w  r    5^s 

lays  him  -  self  down    at    the 
pang          in     all       re     - 

y  i  " 

/Lb*.                u                 ^ 

i        k    *i     *i 

Ifts"        h       is        * 

i' 

r 

VMJ           J            r                   m 

Z)              9        ^.        0          * 

L#i  •  W 

>-J- 


mmm 


feet   of     the    sun, 
joi         -  cing, 


r 


-»— » 


0w£       * 


6S£ 


Shakes  all  o  -  ver  with 

Joy     in   the   heart        of 


;• 


3E 


«£3 


=*=£ 


vl 


Har.  Fourth  Read«r, 


And  shakes    all  o    -  ver     with       glee, 

A      Joy         in  the     heart  .  .      of        pain, 


with 
of 


20 


Shakes     all  .  .  .        o  -  ver    with    glee, 
Joy  in     the       heart  .  .       of      pain; 


=r 


glee, 
pain, 


& 


¥      I  P     #    '"l"        „      „       k 

with  glee,       And  the  broad-back'd  bil  -  lows  fall 
of     pain;      And   the   wind     that   sad -dens,  the 


=t 


• 


55 


P 


£ 


f 


J 


J 


l^i 


^^=ft:=^= s — fsc 

J — — —I — ^—. — fa — p — >J — 


-*-=!- 


-X-2*- 


r 


faint  on   the  shore,    In    the  mirth   of     the  might  -  y     sea,  In       the 

sea   that  glad-dens,    Are.  .    sing  -  ing  the    self -same  strain,         Are  .  .  . 


I 


^ 


s=3* 


¥ 


s 


-*-* 


2i 


Fine.     Mournfully  and  legato 

-3k 


p^p 


IX  p    L« 

mirth  of    the  mighty  sea,  the    might  -  y  sea. 

sing-ing  the  self-same  strain, the  self  -  same      strain. 


ft  r  i 


But  the  wind  is  sad  and 
But  the  wind  is  sad  and 


M=al 


i 


fc=^ 


* 


r 


* 


rest- less,      And  cursed  with  an  in  -  ward   pain;  You  may  hark  as  you  will   by 


±~ 


*-^-hj--=£^P=] 

W      ^ * — ^ — -^       4 


s 


=£=* 


=*=£ 


? 


Fine.     The  end.    Legato,  smoothly. 


Har,  Fourth  Reader. 


21 


-f-£  <•    ^  n-  X'y    r  i  i — |— ^  =T  Hi — r— 1 — ' 


val-ley   or  hill,  But  you  hear  him  still  complain,      You  hear  him   still  com 


^JJ    M 


£=£ 


^P^ 


rallenlando. 


m 


±=±=± 


-,j 


i=£ 


-&— 


F=rrFF^=f=Fti 


plain,     You    hear  him    still  com  -  plain.        He     wails    on    the    bar  -  ren 


¥ 


■&• 


P=t 


£_J*- 


-i   I    |     J 


■fc=i 


# 


moun  -  tains, and  shrieks  on  the  win -try    sea.        He     sobs     in  the  ce  -  dar  and 


h 


^^3SEE5 


EE 


*—*—z?r 


cres 


pm 


-    do. 


d«n. 


/>.<7- 


* 
• 


M=^ 


fW^ 


moans   in     the  pine,    And  shud-ders  all       o   -  ver    the   as     -     pen     tree. 


II 


Sf. — * — *- 


:*=*=E3 


*=*C 


'* * *" 


£> 


D.  C. ,  Da  capo.     From  the  beginning. 

H»r    Tourth   Reader 


22 


ENVY. 


Ch.  Ser.  G,  page  12. 
Chakles  ami  Maky  Lamb. 


1.  This  rose  -  tree     is      not     made    to      bear     The  vio  -  let  blue,   nor 

2.  And  should    it     fret,  you   would  sup  -  pose      It     ne'er  had   seen     its 
8.  Like    such      a     blind  and   sense- less     tree      As     I've    im  -  ag  -  ined 


P 


i=:H- 


^ 


i£ 


p 


m 


'  lil   -    y     fair,    Nor    the   sweet  mi-gnon  -  ette :     And   if      this   tree  were 

own   red   rose,  Nor    aft  -    er     gen  -  tie   shower   Had  ev   -  er  smelled  its 

this     to     be,     All      en  -  vious  per  -  sons    are:     With  care  and     cul  -  ture 


W^- 


dis  -  con  -  tent,        Or  wished   to     change    its       nat  -   ural   bent,      It 
ros  -   e's      scent,       Or       it     could     ne'er     be        dis   -    con  -  tent    With 
all      may     find      Some   pret  -  ty      flow'r     in      their     own  mind,  Some 


^3E 


FFH* 


V 

all       in       vain  would   fret,  It       all        in      vain  would  fret, 

its     own      pret  -  ty     flower,       With     its      own   pret  -  ty      flower, 
tal  -  ent       that     is       rare,         Some    tal  -   ent    that     is         rare. 


II 


Har.  Fourth  Reader. 


i 


23 
Dictation. 

The  oral  dictation  is  suggested  for  review.     See  directions,  page  7. 

The  teacher  sings  with  loo;  the  pupils  respond  naming  the  tones  as  they  sing.    Illustration: — 

Teacher.  Pupils.  Teacher.     Pupils. 


*> 


D^^fl 


r0 


-& _ 1 Qit & 

Loo,loo,loo,loo,loo,loo,loo,loo.     Do,  ti,  la,  sol,  fa,  mi,  re,  do.     Loo.Ioo.  Do, do. 

Keview  Exercise. 
3  4  5 


-&-&-&. 


]l2lfZ2Z 


-^2-«.- 


-S5-&—GT 


II 


■■&—&—&- 


I 


The  teacher  should  give  the  exercises  quite  rapidly  and  demand  prompt  responses.  In 
addition  to  those  suggested  in  the  book  the  teacher  should  add  every  reasonable  combination 
of  tones  she  can  think  of. 

Written  Dictation. 

The  teacher  should  require  the  pupils  to  draw  the  staff  and  place  the  clef.  After  singing 
the  scale  to  fix  the  tones  in  the  pupils'  minds,  she  calls  attention  to  the  position  of  Do  upon 
the  staff.  She  should  then  sing  the  exercise  slowly,  with  the  syllable  loo ;  and  the  children 
should  write  the  notes  upon  the  staff.  Afterwards  the  correct  representation  should  be  placed 
before  them,  errors  corrected,  and  new  trials  made. 

Rhythmic  Dictation. 
2 


o 


^m 


• — & 


¥ 


TI 


LLUJ 


^p^l^m 


Theory. 

Review  the  signs  used  In  music,  including  staff,  clef,  key  signature,  meter  signature, 
sharps,  flats,  notes,  rests,  and  any  other  common  characters.  See  that  the  use  of  these 
characters  is  fully  understood,  that  they  are  correctly  formed  and  placed  on  the  staff.  Teach 
the  staff  degrees,  showing  the  use  of  the  clef,  and  explain  what  is  meant  by  pitch.  (See 
footnotes. ) 

Har.  Fourth  Reader. 


24 


Vocal  Drill 

To  be  sung  from  different  pitches. 


Ch.  Ser.  G,  page  4. 


Ex.  33. 


S^ 


*   k    v  -U— 


E 


Do,   sol  -  o   -  do. 


it 


P — <=Z- 


d     E 


r? 


Ex.34. 


I 


£ 


3ESI 


^ 


1^1 


&k 


Ex.  35. 


f^l^gfe 


Wt^JZZ—jtt 


m 


J*Z* 


i 


Do, la  -a"-  o  -do. 


^^^^^jgfeNl 


Note. — "When  it  is  desired  that  the  tones  of  a  measure  like  (a)  shall  be  short  and  detached, 
it  may  be  indicated  by  placing  dots  under  the  notes,  as  at  (6),  or  by  using  notes  of  a  less  value 
with  rests  after  them,  as  at  (c).  The  rests  at  c  indicate  the  way  in  which  the  measure  should 
be  sung ;  they  do  not  cause  a  pause  in  the  music.  This  is  important,  as  children  frequently 
suppose  there  must  be  a  count  or  a  beat  for  each  rest ;  but  if  they  are  once  assured  that  in  such 
cases  the  rests  are  not  to  be  considered,  except  as  affecting  the  notes,  the  difficulty  is  removed. 


(a) 


(6) 


(c) 


^ 


Har.  Fourth  Reader. 


25 


RETURN   OF   SPRING. 


Ch.  Ser.  G,  page  13. 
>  Moderato. 

sites 


Robert  Schumann  (1810-1856). 


a 


-. 


3 


1.  A       joy  -    ful     wel  -  come  now     we    bring,     Gen    -  tie,    gen  -  tie 

2.  In      glow  -  ing    beau  -  ty       all       is      seen,      Gen    -  tie,    gen  -  tie 

3.  We     give    thee  wel  -  come   with      a      song,      Gen    -  tie,   gen  -  tie 


*k= 


ii^ 


spring  -  time, 
spring  -  time, 
spring  -  time, 


Till 

Now 

In 


. 


-P 


'-^= 


hill        and     dale       and        val     -    ley     ring, 
gay    -    ly      clad        in         robes        of     green, 
our      green  val    -   ley  tar     -    ry      long, 


Gen  -  tie,  gen  -  tie  springtime ;       For  -  est    dell     and      fields     a  -  mong, 
(ien  -  tie,  gen  -  tie  springtime;       Sweet  with -in      our       low  -  ly     vale, 
Gen  -  tie,  gen  -  tie  springtime ;     Joy    -  ful     ev  -  'ry      heart  and     gay, 


Ev  -  'rv-where  we'll  greet  thee  with  a  song,  a  mer  -  ry  song. 
Greet  the  songs  of  lark  and  night  -  in  -  gale,  and  night  -  in  -  gale. 
Joins  with     us       in       our  sweet  round  -e  -    lay,    sweet  round- e  -  lay! 


JT3- 


«     *     * 


Triplets. 


Har.  Fourth   Reader. 


26 


Study  of  Rhythm 


To  be  sung  first  as  four-part  measure,  an  eighth  note  to  a  beat. 
Ex.  37.     Ch.  Ser.  G,  page  13. 


?=^±5 


g^r   [jE^^j^y 


ta 


»--frf-» 


^L-^^3^ 


c== 


-*--■* 


dy>— 

* 

>* 

SB^E 

v 

_-    <r=* 

r  nr  i* 

.. 

-Wr 

^F^ 

1 F5j" 

L-^r  'L 

V 

^  *  J- 

«£ 

J 

_l_  ^i 

z=^r&-j- 

=^=i 

fc£ 


; 


^^^f 


=q=f= 


»:fe     - 


Pi 


' 


-=1 — =1- 


£3 


-q     i       * 


S 


II 


The  word  chromatic  is  derived  from  the  Greek  word  chroma,  meaning  color.  Chromatic 
tones  are  so  called  because  they  were  at  one  time  indicated  by  notes  of  a  different  color  from 
the  others.  They  are  now  indicated  by  Sharps  (til),  Flats  ({?),  Naturals  (3),  Double 
Sharps  (  x  ),  or  Double  Flats  (W?). 

Har.  Fourth  Reader. 


27 


Ch.  Ser.  G,  page  15 
Ex.  38. 


s*r 


3=*t* 


feg 


M 


";  :f 


S^g.-d.-^ffi^  J  «i  J?gQ^  ffl-°  JH 


W^ 


tf 


^s^U_J^3^ZEDLJ=-.l^i 


Ex.  39. 


^^^^^^^^ 


S 


^ 


SN^-^-^MJjT^^?^^ 


piUHP 


fe^ 


!=? 


Har.  Fourth  Readar. 


J-iU^lgl' 


28 


RIVER   SONG. 


Ch.  Ser.  G,  page  16,  Ex.  2. 
„  u     Softly. 


F.  C.  Maker. 


a 


dH^ — ^fc3=5g 


/ ; 


1.  Gen  -  tly    on       the      tran  -  quil      tide   .   .   .  With      the  stream    we 

2.  See  .   .   .    the      Hes  -    pe    -  rian      gleam   .   .    Mir  -  rored    in        the 


*$fctt 


m 


^^^: 
-*-=-*-*- 


B^^ 


*= 


gay    -    ly     glide,       While      the     mel    -  low     eve  -  ning      breeze 
plac    -  id    stream ;    Hark !       the     hap    -    py     feath  -  ered      throng 


** 


m 


Rus 
Trill 


*& 


^3 


**=Fe£ 


ties  in  . 

their         joy 


the 
ful 


leaf 
e 


y 

ven 


trees.   . 
son  jr.    . 


=Jt 


fe£ 


The  lines  and  the  spaces  of  the  staff  are  called  staff  degrees.     With  the  G  clef,  the  staff 

_f ° — , 

degrees  are  lettered  thus  : 


Har.  Fourth  Reader 


29 


And       the     rocks      and     wood  -  lands  ring 
With        a      song        as       blithe      and     gay 


=j — i    r     i 


,^- 


=* 


With     the       glad  -  some 
Let        us        speed      the 


*^-  * 


^^^p 


rit. 


m 


-+T-TT* » 


^-TC#- 


songs  we     sing, 

part     -      ing     day. 


Mer      n   -  ly       on, 
Mer  -  ri   -  ly       on, 


Mer  -  ri   -  ly        on. 
Mer  -  ri   -  ly        on. 


* 


"i 


^ 


■+-• — * 


^^^ 


IT^ 


#^_f&=£ 


^ 


£=3^ 


3*: 


Youth  has     no     care       or       sor     -     row,        Mer  -  ri  -  ly      on;         the 


m^^^m 


&Z3 


^ 


-* — *- 


r#. 


P=tt 


: 


sun    -    set      glow      Fore  -  tells       a      bright       to  -  mor    -     row. 


f-'4    . 


3=mm 


II 


Har.  Fourth   Reader. 


30 


Ch.  Ser.  G,  page  4. 
Ex.  40. . 


-.: 


t 


A 


m 


£ 


-* — «- 


=f= 


' 


? 


f3? 


& 


•;:4: 


^^ 


3Hg=| 


J     I    I  J>    J-1|J 


o=emM^ 


^B 


-<S>- 


f" 


Z2_ 


m 


=3= 


* — ^pK — » — « — p 


Ex.  41. 


* 


r 


I 


be,   x- 


H 


S* 


^ 


W 


3f 


m    m 


Mm 


^^ 


II 


dgi 


3 


r-r-r — wr^T^^^i 


i 


=t 


^ 


P^i 


The  clef  is  used  to  show  how  the  staff  degrees  are  lettered.     The  G  clef  (§2),  which  is  a 

modified  Gothic  G,  shows  the  position  of  the  letter  G.     From  this  the  letters  of  the  other  staff 
degrees  are  easily  derived. 

The  first  tone  of  the  scale  (Do  of  the  major  scale)  is  called  the  key  tone.     The  name  of 
the  staff  degree  on  which  the  key  note  occurs  is  also  the  name  of  the  key. 

Har    Fourth  Reader. 


31 


MEN  OF  WAR  AT  ANCHOR. 


James  Smith. 
Gently. 
?  ^          i       « 

H 

r-i 

rt^J- 

-4-1 

1-4- 

^» 

P.  SlLCHEB. 

H +-i 

iL 

fS      .    1 

_^ — «l =L_ 

_ SJ. J 

.U            m 

*.jh      »<            r 

f^         - 

a         * 

m      ffl* 

r      \ 

1.  Lis      -      ten 

2.  State     -      ly 

3.  Sen     -    tries 

4.  Fit    -       ful     j 

5.  Slum    -     ber 

n 

r 

to 

ships 
pace 
^leam 
reigns 

r 

the 
are 
the 
the 
o'er 

foam  - 
rid    - 
si 

bea   - 
gal    - 

i 

ing 
ing 
lent 
con 
lant 

r 

waves 
there, 
deck, 
lights, 
hearts, 

O'er         the 

Mon   -   archs 
Mid    -    night 
Dark    -  ness 
Famed     in 

y  <\ 

/    '» 

s» 

i        i 

f(\  >\ 

I                i 

■*■ 

i 

^ )  4-          1                  1 

1 

«. 

-S- 

■J- 

-4 

■S- 

— 1       S       9 

i 


J=^3=^ 


P 


~^=± 


P 


*=* 


* 


f^f 


bul 
of 

breez 
wide 
mar 


wark        dash 
the  o 

es  sigh 

sur  -     round 
tial  sto 


ing! 
cean; 

ing! 

ry; 


See, 

Mann'd 

Proud 

Hark! 

While 


mid 
hard 


a 

by 

ly  in 

the      might 
the        Eye 


the 

y 

the 

y. 

that 


1^ 


^33^ 


% 


m 


*u=a 


j 


^ 


5fc 


II 


-* ^- 


r=^rT"  r  '  r^r 


r — r 

shades      of      night, 
sail    -    ors     brave, 
murk   -    y      gloom, 
roar    -   ing    deep, 
nev    -    er    sleeps 


r 


i 


Sig     -  nals  faint    -   ly 

Fired  with  true        de    - 

Free    -  dom's  col    -    ors 

Ev    -  er  loud       re   - 

Guards  our  coun  -  try's 


flash- 
vo 

fly 

sound 
glo 


mg. 
tion. 
ing. 

ing! 

ry. 


II 


-*- 


^m 


W3 


Mar.   Fourth   Reader. 


32 


Vocal  Drill 


Study  of   Minor. 


^^_=g3J£j££JES 


Ch.  Ser.  G,  page  13. 
Ex.  42. 


*'4 


4 


#* 


S 


^^^^ 


S? 


Ex.  43. 


&£ 


^1 


&5 


=§ 


3 


S 


II 


Ex.44. 


=# 


^ 


g±^?=g 


^H 


-* — • — ■»- 


Ex.  45. 


S 


^ 


I 


Ex.  46.    Triplets. 


tt 


fc£ 


±± 


^^S 


mffl^^l^fl 


Ex.  47.     2%e  same  groups  in  g. 


i^^^^^p^^s 


Ex.  48. 
It 


m^A 


tt 


T^= 


m-   t* 


m 


=s 


P^E 


When  we  speak  of  the  key  of  an  exercise  we  simply  mean  that  the  tones  of  the  exercise 
are  to  be  found  in  the  scale  beginning  on  a  certain  pitch.  Scales  are  either  major  or  minor 
according  to  the  effect  which  they  produce  on  the  ear. 

M»».  Fourth   Raads' 


33 


THE    FATHERLAND. 


£ 


Ch.  Ser.  G,  page  11. 
Andante. 


Edvard  Grieg. 


9 


m 


-t- 


^L 


N 


^ 


t= 


1.  O         God 

2.  O         King 
8.  Let  all 


of       Hosts,     with       Thy 

of       kings,     with       Thy 

who       toil        just       due 


strong      hand  pro    - 

pure       might  de     - 

re    -    ceive,  let 


tect     our  homes  and     Fa  -    ther  -  land !        Be      Thou    our     shield     in 

fend     us    from    all  wrong    and      spite.     When     man    with      man    shall 

him    who  hires  true  worth     per  -  ceive ;      Let      strife    and       bit  -    ter 


S 


*=f 


5£E 


^A 


W+ 


:£=* 


*:    ^  * 

1 


:S^=t^ 


ff 
rr.   t 


W^ 


Ped. 


jsk^E^EJ: 


dim. 


II 


i 


=, 


war  or  peace,  and  guide  our  steps  till  life 
strive  in  vain,  let  all  Thy  peace, Thy  mer 
mal  -  ice      die     with  faith      in    Thee  and   hope 


shall  cease, 
cy  claim, 
on        high. 


•  II 


■  i 


Q 


IT* 


s 


te=ds&==j= 


^ 


i 


7I=^ 


"* *= 


£^ 


H»r,   Fourth   Reader. 


r'  >  r 


r 


34 


Ex.  49. 


i 


P©SfeB( 


Ex.  50. 


:& 


I 


~C" 


Pf 


Ex.  51. 


f^£ 


ife 


-^-tt-J-    ♦ 


:£=!= 


p^fl 


i 


The  key  signature  shows  us  where  Do  is.     In  the  example  below,  the  signature'  being 
formed  of  sharps,  we  know  that  the  one  farthest  to  the  right  is  on  Ti,  or  seven  of  the  scale. 


Going  down  from  this  we  come  to  Do  : 


Ti, 


doT 


The  key  tone  being  in  this 


case  represented  by  the  staff  degree  indicating  the  pitch  of  E,  we  say  this  is  in  the  key  of  E. 
By  the  key  of  E,  we  mean  that  the  notes  of  the  exercise  are  to  be  found  in  the  scale  begin- 
ning on  the  pitch  called  E,  or  as  we  say,  beginning  on  E. 

Mar.  Fourth  Reader 


ONE    BY   ONE. 


Ch.  Ser.  G,  page  11. 
Adelaide  A.  Proctor. 
Andante. 


. 


35 


i==i 


-r»»— ^ 


1.  One        by 

2.  Ev    -     'ry 


one  the      sands      are 

hour         that      fleets       so 


flow  -  ing, 
slow  -  ly 


--EJ 

One         by 
Has         its 


*% 


W 


-*-- 


$ 


WP 


zf 


I 


one       the        mo  -  ments     fall ;      Some      are        com  -  ing,     some       are 
task       to         do  or       bear;       Lu     -    mi     -   nous    the      crown      and 


-.1 


3EE^E 


-s*- 


33 


go     -      lllg 

ho    -     ly, 


Do 

When 


not      strive         to 
each       gem  is 


grasp      them        all. 
set  with        care. 


.[ 


I 


---   d 


^"^ 


If  there  is  no  key  signature  we  know  that  Do  is  on  the  third  space,  or  C,  and  the  exercise 
(if  major)  is  in  the  key  of  C. 

If  tones  are  used  that  are  not  in  the  scale  indicated  by  the  key  signature,  they  are  distin- 
guished by  accidentals,  and  are  called  chromatic  tones. 

Har.   Fourth  Reader. 


36 


NIGHT   HYMN   AT   SEA. 


Felicia  Hemans. 
Andante  sostenuto. 
Introduction  (to  be  hummed.) 


K.  G.  Thompson. 


^ss^e 


wmmm. 


& 


*=*_ 


I      I     i     i     i  ' 


Urn 


$+&=F=t 


^t 


. 


T=t 


z£ 


£ 


-& — &- 


-&—*-£? 


Hoi  -  low     gusts 
Few    and       sad 


and 


£d2: 


a£ 


,c?  • — 0- 


cres.  ,         |  s 


1.  Night  sinks  o1er  the      wave,  Hol-low    gusts  are 

2.  Stars  look  o'er  the        sea     Few  and     sad  and 


m 


-<s>- 


~^r- + 


-*-**£ 


. 


cave    ....    Thro' the  gloom  are 
be When  all    else   is 


J 4- 


w/ 


CT^3^ 


U. 


*       m 


te^ 


* 


Sb.L^y-y^ 


g    ;    ,»  — gg^'-a —  r- »— »-^ — ^= 


i 


sigh-  ing,        Sea-birds  to   their      cave  Thro' the      gloom  are         fly    -   ing; 
shroud -ed;        Faith  our  light  must     be    When    all       else       is         cloud  -    ed. 


*     ": 


fe  str 


FJ==2 


q 


:JZ*3%5 


Sostenuto,  simple,  flowing,     ores  ,  crescendo,  or  .:_.  gradually   increase   the   tone 

power;  dim.,  diminuendo,  or  — ,  gradually  decrease  the  tone  power;  moltorit.,  molto 

ritardando,  much  retarded ;  a  tempo,  in  same  speed  as  at  first. 

Har.  Fourth   Reader. 


3? 


L? 


3m$m$ 


cres. 

— i 


<^PP 


1— T 


PP 


O!  should  stormscome  sweep  -  ing,      Thou     in  heaven  un  -   sleep  -  ing, 
Thou  whose  voice  came   thrill   -   ing,      Wind    and  bil  -   low     still     -    ing, 


tt 


3S 


3« 


11111111=! 


4=^ 


i 


e 


3 


^Ft 


r      i 


t=t 


r  r 


O'er  Thy  chil  -  dren   vig  -  il     keep  -  ing,  Hear,   hear,  and    save ; 
Speak  once  more,  our  prayer  f ul  -  fill  -  ing,  Power  dwells  with  Thee ; 


/ 


Efc 


SiPi 


=f* — *- 


m 


^  -^ 


O'er    Thy 
Speak  once 


jrrr 


O'er  Thy  chil-dren  vig  -  il    keep-ing,  Hear, hear, and  save.   Hm 
Speak  once  more, our  prayer  f  ul-fill-ing,Power  dwells  with  Thee. 


^^U=J±J=^F^ 


£ 


I 1     ji    ' — tS> — *-&> — ^ 

chil     -      dren         vig  -  11     keep-  Ing,     Hear  and     save.     Hm 

more,         our         prayerful  -  till  -  lug,  Power  dwells  with  Thee. 


. 


-J- 


II 


fS 


r^^Ti^P^^^^PF 


-s^- 


E^i^^ 


II 


?'\>: 


s>- 


Htr.  Fourth   Reader. 


47206 


38 


Lord  Tennyson. 
Moderato. 
mf 


BLOW,  BUGLE,  BLOW. 


F.  W.  Jones. 


k    k    k     u»  k    lj 


1.  The  splendor    falls   on     cas -tie  walls    And  snow-y     sum-mits  old    in     sto - 

2.  O   hark,  O    hear!  how  thin  and  clear,   And  thinner,  clear  -er,    far-ther  go  - 

3.  O    love,  they  die      in    yon  rich   sky,  They  faint  on    hill  or    field  or    riv  - 


ftf 


a=n 


2=SJz=£=^i3^ 


*==&: 


3^ 


cres. 


ip# 


Afefe^M 


^£=M^ki 


Ff=&=$ 


k    k    |       k    k    k    f       U«    k 

ry ;  The  long  light  shakes  across  the  lakes,  And  the  wild  cat'ract  leaps  in  glo  - 
ing;  O  sweetand  far  from  cliff  and  scar,  The  horns  of  Elf-land  faint-ly  blow 
er;     Our  ech-oes  roll  from  soul  to   soul,  And  grow  for- ev  -  er    and  for-  ev  - 


i 


te=* 


W 


3=£ 


-MHa 


ry.  Blow, bugle,blow, Blow, bugle, blow,  Set  the  wild  ech-oes  fly  -  ing.  Blow  .bugle, 


ry.  Blow, bugle.blow, Blow, bugle, blow,  Set  the  wild  ech-oes  fly  -  ing.  Blow  .bugle, 

ing!  Blow,  let  us  hear,  Blow, let  us  hear  The  purple  glens  re-ply -ing.  Blow, bugle, 

er.   Blow, bugle, blow, Blow, bugle, blow,  Set  the  wild  ech-oes  fly  -  ing.  Blow, bugle, 


3 


m 


■*-*■ 


«5> 


r 


mf 


3=b 


:*=^i=F 


W=W- 


S 


i\* 


p 


hJ-J-x- 


r-r 


£ 


pp  rail 


IsdEteEsk 


rrrr*w 


cres.  ^ 
blow,  Mow, bugle, blow,     Answer,    Answer,    echoes, 


^r^=5j=*=£=JH:3  r^zg-bzj^z^-Fjz=4z^H=q-     |  x-|l-r— I 


echoes,      dy    -  ing. 


II 


Har.  Fourth   Reader 


39 


l 


Dictation. 
Oral  Review  (Suggestive  Exercises). 

2  3  4 


& 


I 


-<$<-  -&- 


o; 


j2.—\\—  a 


7 


I 


bfe= s: 


ill 


z?— ft^    ^?  g> — :      g        ■  z? 


"g" 


fy-g-fg 


II 


Written  Dictation. 


The  key  is  D.     The  signature  is  :7u*=.     Where  is  Do  in  this  key?     The  meter  is  ?. 


What  must  each  measure  contain  in  ?  meter?    Where  does  the  accent  fall  in  ?  meter?    The 

teacher  will  call  attention  to  the  dotted  note  J.  ^  J  To  familiarize  the  ear  with  this  effect 
the  teacher  may  have  the  children  sing  such  examples  of  it  as  occur  in  "America."  Flat 
seven,  which  is  also  introduced  here,  is  represented  by  placing  a  natural  (fl)  on  Ti,  or  seven  of 


the  scale  :  thus 

1 


•>        Te, 


^ 


P^ppl 


P 


* 


^ 


m 


&-1- 


ii 


? 


Intervals. 

The  difference  in  pitch  between  two  tones  is  called  an  interval.  Intervals  are  called 
seconds,  thirds,  fourths,  fifths,  and  so  on  according  to  the  number  of  staff  degrees  which  are 
required  to  represent  them.     (See  footnote,  page  87.) 

Give  practice  in  naming  intervals  from  the  staff.     Illustration  :  Name  these  intervals  : — 


&"\ 


JZZ 


I 


V 


-s>- 


:^_   ^ 


S4-© 

Note.  In  this  exercise  the  pupils  simply  gain  the  power  to  distinguish  intervals  without 
reference  to  their  character.  The  prime  represented  by  two  notes  on  the  same  staff  degreo 
may  be  spoken  of,  and  the  fact  that  an  actual  interval  may  be  represented  by  two  notes  on  the 

same  staff  degree  by  means  of  an  accidental,  thus : 

Har.    Fourth   Readet 


i^Si 


40 


Vocal  Drill 

Major. 


Minor. 


gPgj^^l^ 


Ex.  52. 


*=,lti 


*-e=*t 


^ 


II 


Ex.  53.   Ch.  Ser.  G,  page  9. 


Sifcrf 


*£U* 


*3tt^ 


d=4: 


fc* 


?—*— +~ 


^a 


-v 


22=2: 


x* 


tXWL 


Ex.  54. 


«^^ 


& 


-+—+ 


Ex.  55. 


'^ 


^21 


33± 


&l 


PSE3 


'sa 


3*: 


^^^^^^1 


Ex.  56. 


3=£ 


^EJ=feS 


"i  1  r*^ — v 


'~x 


f=r 


*—* — * — =r 

-r-f  ^rii»      r— - 


SlJlfcs 


?#%# 


t3£ 


^ 


-*    ■  » 


^ 


When  it  is  desired  to  indicate  a  higher  pitch  on  a  staff  degree  already  hearing  a  sharp  In 
the  key  signature,  the  double  sharp  is  used  (x). 

When  it  is  desired  to  indicate  a  lower  pitch  on  a  staff  degree  already  hearing  a  flat,  the 
double  flat  is  used  (b(?). 

H«r.  Fourth  Reader. 


41 


NEW  YEAR'S   EVE. 


0                   is 

Welsh  Air,  "Nos  Galan." 

V  i    z  i — -m - 1 — 1 j^ — I 1 — 

s   p   P  is — k^-s 

I                | 

&H:  r     J    J    «4J— ^J*— J- 

-*    *b^   J=*^£z 

^jZ 1 1—« «_ « 

1.  Hark!   the   sum-mons,come,  my   fel  -  lows, 

2.  Shep-herds,quit  your  cares   for  pleas  -  ure, 

3.  Toil   and   trou  -  ble      lie      be  -  hind    us, 

4.  Quick.join  hands, and    foot     it     feat  -  ly, 

-0. f , 

Fa    la    la    la    la     la 
Fa    la    la    la    la     la 
Fa    la    la    la    la     la 
Fa    la    la    la    la     la 

la    la    la, 
la    la    la, 
la    la    la ; 
la    la    la, 

7f-rn — 

MB  ' 

S     N    jN    k     1 ' 

"1 1~ 

VT\V  *  ' 

1  d    r  j     is 

J       1     J  * 

\<.\) 

m      m             m     m  '      P 

*       1     * 

O 

fife = 

fs  *  J  is  1 — is 

— 1 i h~cjr 

w "" 

~0 *—     '-0 W          0 

^y=^_ 

Crown  your  hats  with   hoi  - 

Fish  -  ers, leave  your  nets 

Think     no  more   of   chan  ■ 

In      the  dance  we  ne'er 

f)                      IS 

ly      ber  -  ry, 

and  wher-ry, 

•  ces   drea-ry, 

can  wea  -  ry, 

Fa   la    la    la    la      la    la    la    la. 
Fa   la    la    la    la      la    la    la    la; 
Fa   la    la    la    la      la    la    la    la, 
Fa  la    la    la    la      la    la    la    la, 

y,                 ^              i 

i          r"^                i 

r    1      1          1 

is    s    p    \    \ 

~ 

W*—f. * — * J_| 

~d — 

m  +-*■ J— 

^-r  »— *— J   J. — h 

-j— f-j 

^ 1 1 

-0 — * 0 — 9       J1 

L*-zw\r*—J 

4 


V 


tef 


p 


t 


'0=^- 


Hark !  the  peal  -  ing  bells  that  tell    us,     Fa  la  la  la  la 

This  must  be      a    night    of   lei  -  sure,  Fa  la  la   la  la 

While  the  well-known  strains  remind  us,  Fa  la  la   la  la 

To    the  harp  that  sounds  so  sweet-ly ,     Fa  la  la  la  la 


la 
la 
la 
la 


la 
la 
la 
la 


la  la 

la  la 

la  la 

la  la 


la  la, 

la  la, 

la  la, 

la  la. 


s=ft 


m 


3"^ 


w 


^ 


te^fe*! 


v- 


'Tis  the   eve  of  new  year  mer-ryf  Fa 

'Tis  the   eve  of  new  year  mer-ry,  Fa 

'Tis  the   eve  of  new  year  mer-ry,  Fa 

On  the  eve  of  new  year  mer-ry,  Fa 


la  la    la  la 

la  la    la  la 

la  la    la  la 

la  la    la  la 

IS  h 


la  la  la 

la  la  la 

la  la  la 

la  la  la 


la. 
la. 
la. 
la. 


^ 


s^ 


Mar.  Fourth  Rtader. 


4 


-0-    -0- 


42 


ROAMING. 


Ch.  Ser.  G,  page  13. 
Rev.  Dr.  Trodtbeck. 
Marziale,  moderate. 


Franz  Abt. 


►-4--*- . 

0    \ 

1.  A- way 

2.  A- way 

3.  A- way 


let  us  roam,  un  -  re-strain'd  let  us  roam,  a -way,  a -way  let  us 
to  the  wood,  to  the  storm-beat-en  wood,  a -way,  a -way  to  the 
to     the  height.to   the   far      loft  -  y  height,  a  -  way,       a  -  way   to     the 


-0-  -0-  -0-.  -*■ 


-J 


-5 


*=:* 


3=^ 


mf 


fe 


t 

roam ; 
wood ; 
height ; 

/ 


i^^B 


h    * 


Mi 


f»  g'l'f     C  g'r    Pt::£fl 


Where  in   vale  and    on  height  All  is  wondrous  bright,  Where  with 

Where  the  tem-pest     is   high  In  the      lu  -  rid    sky,  Where  the 

Which  by  close-cling-ing  mist  We  be- hold   oft  kissed, Where  the 
mf 


i 


g 


W^^ 


^=1 


*— =r 


let 

us    roam ; 

Where    In 

vale 

and 

where     on 

height, 

All 

is 

to 

the  wood; 

Where    the 

tem 

-  pest 

ris   -   es 

high 

In 

the 

to 

the  height; 

Which   by 

close 

-  iy 

cling  -  ing 

mist 

We 

be- 

31 S 


fX 


f 


0  i    0   -*■ 0- 


■  dors  sweet  From  the  flow'rs  we  meet,  Where  the  airs  of  Heaven  o'er  the  meadows 
ech-oes  sound  Thro' the  rocks  a  -  round,Where  the  sun  gleams  down, showing  red  as 
lightnings  flash,  And  the  thunders  crash.Where  the  sun  shines  out  with  a    ros  -   y 


I 


W- 


•: 


won-drous  bright,    is 
lu  -  rid    sky,        the 
hold   oft  kissed,     be 


31 


p33g3=gggg 


& 


". 


^* 


won  -  drous  bright, 
lu   -    rid       sky, 
-     hold      oft     kissed. 


Two  dots  placed  after  a  note  increase  its  duration  three  fourths  of  Its  original  value. 
Marziale,  martial,  in  the  style  of  a  march. 

Har.  Fourth  Reader. 


43 


come,A-way,  a  -  way  let  us  roam, let  us  roam,  a-way,  a- way  let  us  roam, 
blood, A-way,  a  -  way  to  the  wood,to  the  wood,  a-way,  a-way  to  the  wood, 
light,  A-way,  a  -  way  to  the  height, to  the  height,  a-way,  a-way  to  the  height. 


l^^j^pp^-EEi^iESS^i^^Ppil 


Harmonic  Study. 


Ex.  57. 


BE^ 


^P 


J 


1       I       ' 


J 


Hrt*t^ 


■V 


t=p= 


P^ 


ES 


rt 


3 


<c?-.- 


SB 


rf*l 


Ex.  58. 


rt 


u 


s 


5PjC 


tto-^- r 


:££ 


S^ 


-± 


^U«"  ^ 


E2 


-C5f 


3: 


d=d 


g^i 


te 


Har.  Fourth  Raadar. 


■g»  — L 


3F 


E9 


tz^^E^ 


=t 


-=JT 


I! 


44 


Vocal  Drill. 

To  be  sung  from  higher  pitclies. 


f^32 


x- 


(fV^?"- 


Study  of  Flat  Three     (Contrasted  with  Three). 


Oh.  Ser.  G,  page  18,  Ex.  1,  2. 
Ex.  59. 


Ex.  60. 


igtl^ 


^B 


Ex.  61. 


Ex.  62. 


^^ 


W 


-^ 


^rr^-Tj-i 


ii 
ii 


Ex.  63. 


^ipil^3|^l^ai^=^S^lH 


me, 


Ex.  64. 

4fc 


gp%3  J  J.J  III  I J  jjl  i 


*iHi 


W  'gg 


1 


Fffi^J.lj JJUdwU  »1J  J  j-^4^MI 


Ex.  65. 


' 


■(«=» 


i=f 


s 


ii 


Ex.  66. 


^=-1 


ftA 


a 


-<»•    ^ 


bE3 


II 


**: 


'^ 


Har.  Fourth   Reade- 


Ex.  67- 


Study  of  Minor. 


45 


!=jl=^=tii 


The  scale  beginning  and  ending  on  La  is  frequently  used.  This  scale  gives  a  minor  effect 
and  is  called  the  minor  scale.  The  key  signature  remains  unchanged,  however,  so  that  every 
key  signature  may  stand  for  two  keys,  one  major  and  one  minor,  and  it  is  by  the  tone  effect 
alone  that  we  can  discover  that  La  instead  of  Do  is  the  key  tone. 

If  the  La  of  a  minor  scale  has  the  pitch  called  A,  we  say  that  the  exercise  is  in  A  minor, 
but  if  B  indicates  the  pitch  we  say  the  exercise  is  in  B  minor,  if  C,  in  C  minor,  etc. 


H»r.  Fourth  Reader. 


46 


THE   LIFT   IS   HIGH   AND   BLUE. 


Ch.  Ser.  G,  page  10. 
Dinah  Makia  Mulock. 
mp  Affetuoso. 


J.  Sneddon. 


gB3^JB^Eg=g=^^^=;fc^ 


1.  The         lift     is   high  and  blue,  And  the     new  moon's  shin -in'  thro'     The 

2.  Oh! the    shearers  that     I    see      There's     ne'er    a      ane  kens  me,    Tho' I 


*W 


fi      0 


t- 


-q ft fc 


bon   -  nie       corn 
aince    kent      them 


stooks 
a' 


o' 
at 


Strath  _  air 
Strath  -  air 


iy; 


My 
An'  this 


=&5 


W-         * 


fefe 


^ 


gE^Epj^§g=fe^^^E^EE^ 


ship's  in     Lar  -  go  Bay,      An'     I      ken      it      weel,  the    way       Up     the 
fish  -  er   wife     I    pass,     Can   she       be      the      bon  -  nie     lass       That      I 


tdt 


:£ 


*=± 


^ 


*=fc 


■0 0 -0- 


* 


*3f==& 


steep,         steep  brae 

met  at       the      back 


=£=3 


i^^^^ 


Strath  -  air 
Strath  -  air 


=*■ 


* 


iy- 

ly? 


r-far-d 


When 
Oh,    the 


-=1 — ■# 


&=*=: 


Affetuoso,  with  tender  feeling  or  emotion. 


Har.  Fourth  Reader. 


47 


I 


£$F 


Q 


i^=i=i=^i 


S 


:£=&£ 


I    sail'd  o'er  the    sea, 
land,  the  land    is     fine, 


A  lad  -  die    bold    and    free,  The 

I   could  buy      it         a'       for     mine,        My  gowd1s 


I 


^ 


i^P 


-w- 


i^ 


-*s>- 


p 


I 


p 


corn,       the     corn     grew        green 
yel    -   low       as         the         stooks 


at       Strath  -  air 
o'       Strath  -  air 


i 


:&==£==&=£: 


=t 


ly;         When 
ly;      But      I 


£ 


-j. 


& 


_£2 


raW. 


r#d> — ^ s: — k — r 

— h — ^- 

»»         s    ^    i 

/_£ £ N     _£ *  vj 

J    J 

*       s      r     0                >.  -  -in 

fc  »  " *—  -f-^ ^-2«— 

—*        -        +              -    w 

— d      J — 

I     come  back  a  -  gain, 
fain   yon    lad  wad   be, 

'Tis     an      auld   man  walks  his     lane, 
That         sail'd      a  -  cross   the     sea, 

Slow  and 
When  the 

■  / 1  ™                             i 

/    b          •_                 •_       IS                     * 

s         is  '       s         IS 

£y~ P1   -in     5 — p— J 

w * 

^      r - ^      r — I k * — 

tr — *    J  W — * — *— 

"           s 0 

— 0 * 0 0 -0 — 

V    ^    ' 

f)     h                              IS 

- 

^ ^"^^^ 

-      9- 

-r-'    h* 

-pa        ^ 

p 

— m— 

-Ul 

sad               thro' 
corn,    the    corn 

the 

grew 

fields 
green 

o'       Strath 
on       Strath 

-  air 

-  air 

I- 

■     ly. 

B 

# 


* 


•See  Chart  G.  page  11,  Ex.  3. 
H«r.  Fourth  Reader. 


48 


Harmonic  Study; 


Ch.  Ser.  G,  page  17,  Ex.  1  and  2 
Ex.  69. 


£^^ 


T±&~- 


J^M 


II 


-0-  -ar  rat- 


Ex.  70. 
)I-    IT? 

rr 


y»4tf  f  f  TfflTf^  ^  /tfi  I « Wl  i  J  ^  J I J  ^ 

— =*-F— i— t— ) — 4—i — 0-0J-9-9-0-0 — F-8 — h 1— i — i — L+—*—m-0J-0-0—0~^-1-^ — Jj 


rr^r 


H 


Ex.  71. 


a 


x± 


:BET 


2^: 


:sg£ 


:#*t==^ 


r — r    i- 


-*-* 


^-rr 


-* — ' 


i 


E 


■* — ^~ ^r|^.— Hah — «*- 


g 


J    ,    fi) 


3S: 


fe 


^ 


:*=>: 


m- — 0 


e=p=r 


-a>-4-(* 


£ 


h: 


£ 


^ 


£ 


* r*- 


=r=^= 


II 


-«-s *- 


II 


Many  exercises  begin  in  one  key  and  pass  into  another.  The  change  is  brought  about  by 
introducing  the  tones  of  another  key,  shown  usually  by  accidentals. 

We  think  of  each  succeeding  tone  of  the  ascending  scale  as  higher  than  the  one  before  it. 
The  tones  at  the  top  of  the  scale  we  call  high  tones ;  those  at  the  bottom  we  call  low  tones. 
This  property  of  tones  which  enables  us  to  distinguish  them  by  the  words  high  and  low,  we 
have  already  spoken  of  as  pitch.  % 

Har,  Fourth  Reader. 


49 


IN   THE   ALPS. 


Ch.  Ser.  G,  page  4. 


Cornelius  Gurlitt. 


1.  Spar   -  kling  gem        of  liq 

2.  Ver    -  dant  slopes      a  -  round 

3.  O'er  the      hill  -  side  pas 

4.  Feel    -  ino-s    born       of  beau 


? 


uid      bright -ness, 

de  -   light       us, 

ture     sound  -  ing, 

ty      cheer        us, 


Deep  in 

While  they 

Hear  the 

Lift     -  ins: 


S 


:j^r 


-*-» — — -£r 


~* — * 


m^m^^m^: 


¥ 


Al  -  pine 

of  -  fer 

dis  -  tant 

ev  -  'ry 


0^m 


m 


w 


moun  -  tains        set, 

sweet  re     -     pose; 

goat    -  herd's    bell ; 

thought  on         high ; 


I- 

Lo!     .  their 

Wa    -  ters 

Hark !  Irom 

Heaven  it 


& 


:- 


m 


^ 


? 


m 


t- 

sum    -    mits1 
fresh       and 
rock         to 
self         seems 


w 


£=± 


a. 


±*=i 


dim. 


m 


pure 
rock 


y 

in 


f^ 


r=tr=r 


white-ness  Makes 
vite     us,     With 
bounding,     Far 
near    us,       So 


thy 
the 
the 


waves  more 

charm  which 

dy  -  ing 

spir  -  its 


-iy 

ture 


love 
na  - 
ech  -  oes 
up  -  ward 


7" 

yet! 

knows. 

fell. 

fly! 


S^ 


w 


^P^PPi 


=t 


=t 


ii 


The  pitch  of  tones  is  indicated  by  the  staff  degrees  as  named  by  the  clef.  A  note  sep- 
arated from  the  staff  represents  no  pitch.  In  studying  the  representation  of  pitch,  therefore, 
we  must  study  the  staff,  rather  than  the  notes. 

M»r.   Fourth  Reader. 


50 


"W.  HODGBTT. 

mf 


WHEN   WILL   SPRING   RETURN? 

J.  Frank  Proudman. 


iiii±^E 


C  '  C  '  r    r  f*  ^  *  '  rrfi 

* k U  k     U     I 


L«UT-«f_i. 


When  will  Spring  re-turn    a  -gain,   The  cold  winds    cease       to      blow? 


» L-0 -0 0        0    *  * 


ft:=S 


;lte* 


S*S£ 


jh^/7  J 


£te 


-&>- 


'■W=0- 


When   will     fer  -  tile show'rs  de  -  scend,  The  flow 'rs  be -gin  to     grow? 


u. 


m^m^3^3^±^=^F^^^^^^\ 


'! 


-*=$. 


fe^=i 


t 


M 1 0 0- — i  mJ&m--**—* 


f  i 


k      k       k      '  r.    "      U 

When     will  Win  -  ter's  frost     be      gone,    The  snow  all  melt       a  -   way  ? 


*&= 


? 


«r 


d 


? 


H 


:*z5zat 


i^EEE 


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P 


Hi 


=*Efe 


N        S 


E»  E-T — r — £~ *~r — ^-u— t2=t^==£:=f==zF 


fe£ 


I 


When   will  gen  -  tie,    gen  -  tie  Spring  a  -  gain  Her  glo-rious  seep  -  ter     sway  ? 


A 


?'  J  J'J— J-J*"?^  /  J  "^""IP 


Har.   Fourth  Reader. 


51 


mf 


-a 


:*— * — £ 


Will   the   sun     for-  ev-er  hide     Be -hind  the      lead-   en       cloud, Will  the 


*& 


ej   r* 


^^ 


sun    for  ev-er   hide        Behind  the     lead  -  en  cloud  ?  Will  the  earth  for-ev  -er 


U 


pt± 


^3pi^l^SpS 


t=^r. 


I 


•/ 


r^M ■ 


diminuendo. 


-V — *— fc* 


' 


r" 


H 1 1- 


IPi 


:£= 


r^Er-p-t 


k    u*    k    l         | 

wear  Her  dark  and  dis  -  mal  shrou.1,  Her  dark  and  dis  -  mal  shroud, Her  dark  and 


!=i 


EEBE5E 


Zg « — Z^_ 


!feA 


Oh,     how      I      long! 


Oh,     how     I        long! 


dis 


« •— I * — *-' — r~     —  p — i*    '  I  'w| — ■ 


mal     shroud  P 


Oh,  how   I       long!    How     I       long! 


=t 


& 


^e$ee£ 


Har.  Fourth  Reader. 


52 


a4a 


-t* — *- 


*N^ 


t- 


How  I      long,     I  long  to      see     .      .  That  bright  and  hap   -  py       day, 


-M 


ABE 


=t 


&* 


+=*! 


i*—zM. 


T 


m 


^^ 


=33 


=**=i 


k    k    ^  ^     i*    k 

How    I       long,    I  long    to        see    .      •  That  bright  and  hap     -    py     day 


u. 


P^EEf 


3t=3t 


^ 


f~*—* 


^=^= 


■*»      * 


31 


i*^=* 


*-»- 


*»-S 


?P=? 


-?— *■ X- €- 


5-f 


=fc 


few. 


r 


J  pj*>> 


When    we     can    cull  the     flow'rs,      the  pret  -  ty,  pret  -  ty  flow'rs, 


==£ 


d^H 


^ 


M: 


mf. 


fid 


z-r—r- 


J- 


d^F^dM^M 


?c — C 


fipP^pH 


When    we    can   cull    the  flow'rs, the  flow'rs  that  bloom  in    ear-  ly       May! 


SJi 


Bfe^^^S 


:-/ 


*tirt~^w  g  g  * 


ten.,  lenuto,  sustained  ;  give  the  note  its  full  value. 


Har.  fourth   Reader. 


Dictation  (Oral  Review). 
2  3 


53 


ffiy  |u  »  t^    — M^^m^K:^  II »  >*-d^p^B 


Written  Dictation. 

The  key  is  E.     The  signature  is  r^jfrSr.     Where  is  Do  in  this  key  ?    The  meter  is  % 

What  must  each  measure  contain  in  %  meter  ?  Where  does  the  accent  fall  in  \  meter  ?  The 
features  of  this  lesson  are  the  divided  beat  and  the  introduction  of  the  tone  Si,  or  sharp  five 
To  familiarize  the  ear  with  the  effect  of  the  divided  beat  some  exercises  should  be  sung.  Sharp 
five,  or  Si,  is  represented  in  this  key  by  placing  a  sharp  on  five,  or  Sol,  thus 


ih 


=* 1- 


rt:^1 


Intervals  (  Major  and  Minor  Seconds). 


Ch.  Ser.  G,  page  18. 

Compare  Mi,  Fa,  Mi  with  Do,  Re,  Do  ■ 


■  sung  from  the  same  pitch,  thus  :  — 


I 


v 


m 


k 


m 


P=s=tf* 


I! 


Mi,   fa,    mi   -   l    -   o  -   do,    re,    do. 


Do,  re,   do. 


Mi,    fi,  mi. 


Compare  similarly  each  second  of  the  scale  with  Mi,  Fa,  Mi.  Teach  the  children  to  sing 
a  major  second  up  and  down  from  each  tone  of  the  scale.  Sing  major  and  minor  seconds  up 
and  down  in  varying  order  from  each  tone  of  the  scale  and  call  upon  the  children  to  tell  what, 
they  hear. 

1  2  3  4  5 


i 


ii 


*5> sr 


I 


#*- 


II 


II 


^fe=; 


1 


Minor  seconds,  up  and  down. 


Major  second.      Minor  second. 


Each  line  and  each  space  of  a  staff,  with  clef,  is  called  a  degree.  Each  degree  represents 
a  certain  pitch.  Many  attempts  have  been  made  to  settle  upon  a  standard  of  pitch,  which 
should  be  accepted  by  musicians  in  all  countries,  but  the  results  are  not  entirely  satisfactory 
as  yet,  though  the  variation  from  the  standard  proposed  is  but  slight. 

Har.  Fourth    Read*'. 


54 


Ch.  Ser.  G,  page  9. 
Ex.  72. 

-8 3 


Study  of    Rhythm. 


WLLft^m 


& 


B^^ 


.. 


* 


II 


Ex.  73 
I 


3^==3 


£=* 


*+E 


■M*j*z±kL 


311 

3-»-    cs'  ' 


Ex.  74. 


«J  ^^  a  a  ^ •  ^ 


Ex.  75. 


« 


fcdzz* 


*=* 


q=3=f 


J^e^e^: 


n-j-t 


5=f 


S3:- 


* -^ 


3^3EE5 


-=l-*-=1- 


I 


Ex.  76. 


£9: 


fc 


=*=r 


Sfe 


^ 


-3-*-^- 


*H-ah 


Ex.  77. 


^ 


:l — r 


rrr 


s 


*3=^ 


4 


.J!  r-i 


3^3 


Let  us  suppose  that  the  teacher,  by  blowing  the  pipe  or  striking  the  tuning  fork,  or  piano 
key,  gives  the  class  the  correct  pitch  for  the  staff  degree  called  C 


_,  and  from  this 


pitch  as  Do  the  class  sing  the  descending  scale;  then  each  tone  of  the  scale  will  be  the  normal 
or  natural  pitch  of  the  staff  degree  on  which  its  note  stands. 

When  no  sharps  or  flats  are  placed  on  the  staff  degrees,  the  pitches  which  they  represent 
are  said  to  be  natural,     We  speak  of  the  key  of  C  as  the  natural  key  for  this  reason. 


Har.    Fourth   Reader 


55 


yttt — j      n    rr 


m 


-wt +- 


p 


*=d! 


S3 


=^^r 


=1 


i 


#3: 


J 


II 


Ch.  Ser.  G,  page  15. 
Ex.  78. 


Study  of  Harmony. 


f 


Vi! 


r*    0 


tt±=f 


E! 


J=^ 


mm 


at?: 


£2 F-^ 


^ 


^ 


ri=* 


^ 


*fe* — -++ 


sfc*: 


I 


*   :? 


BS 


^=at 


fi 


C — -*z 


^^^±&^=^0 


Ex.  79. 


3^3^; 


r*  r IF 


ii 


4 


2 


P± 


3td:3 


s 


:£3 


^i^^i 


ii@ 


ipzzzpc 


-! h 


' 


=-*E*=^ 


pggllES&r=M^^pgN*E=|::l 


When  sharps  or  flats  occur  on  the  staff  degrees,  they  no  longer  represent  the  natural  oi 
normal  pitch,  but  a  higher  or  a  lower  pitch,  according  to  the  characters  used. 

H»r.   Fourth   Reader. 


56 


THE   WHALE. 

(Ballad.) 


Allegretto. 


Db.  Callcott. 


S 


B 


dte£ 


m 


^ 


s^ 


*=* 


rr 


r  r  * 

f 

1. 

'Twas   in         the 

year 

of 

2. 

Blow-hard      it 

was 

our 

3. 

And  when     we 

came 

to 

•1. 

Our  mate     up  - 

on 

the 

5. 

Our    cap  -  tain 

on 

the 

6. 

We  struck  that 

fish, 

and 

7. 

'Twas  when  the 

news 

to  our 

8. 

The     los  -  ing 

of 

his- 

7  r .  ?-r 


eigh  -  ty  -  five,  Of       March   the  twen  -  tieth 
cap  -tain's  name, Our      ship      the     Li   -   on 
that  cold  land,  Where  white  snow  al  -  ways 
top- mast  stood,  With  a  spy-    in  g  glass    in 
deck    he  ran,  And    a  right  smart  man   was 
off      she  went  With  a    flour-  ish     of      her 
cap  -  tain  came,  He         call'd     up     all     his 
'pren  -  tice  boy     Did        grieve  our  cap  -  tain 


5£ 


day,      Our     gal-lant     ship  her  .    an -chor  weighed,  And  to  sea  we    bore    a  - 

bold,     And      we  were  bound  to  the  north-ern     coast,  To     .    face  the   frost  and 

lies,  Where  the  storms, and  cold.andthe  big  whales  blow,  And  the  daylight  nev  -  er 

hand — "A     whale!  a  whale!  a.  whale!"  he     cries,  "And  she  spouts  at  ev  -  'ry 

he — "Ov'-er-haul,  overhaul, let  your  main  tackle  fall,  And    launch  your  boats  to 

tail;       But       ah     and  a -las!  we       lost    one     boy,  And  we  did    not  catch  that 

crew,  And  for    los  -  ing    of       his    'pren  -  tice     boy    He     .    down  his   col  -  ors 

sore,    But  the    los  -  ing    of       that   great   big  whale  Did       grieve  our  cap  -  tain 


:' 


=t 


J=J^ 


mm 


i 


*=!*: 


f 


way,  brave  boys,  With  a 

cold,  brave  boys,  With  a 

dies,  brave  boys,  With  a 

span,  brave  boys, "With  a 

sea,  brave  boys, "With  a 

whale,  brave  boys,  With  a 

drew,  brave  boys,  With  a 

more,  brave  boys,  With  a 


rr^ 


5 


fa 
fa 
fa 
fa 
fa 
fa 
fa 
fa 


la 
la 
la 
la 
la 
la 
la 
la 


la 
la 
la 
la 
la 
la 
la 
la 


la 
la 
la 
la 
la 
la 
la 
la 


la 
la 
la 
la 
la 
la 
la 
la 


la 
la 
la 
la 
la 
la 
la 
la 


la,  With  a 

la,  With  a 

la,  With  a 

la,  With  a 

la,  WTith  a 

la,  With  a 

la,  With  a 

la,  With  a 


Ballad,  a  story  told  to  music. 


Har.   Fourth  Reader 


itm 


■=x 


— p — i- 

m 


£eM 


57 


r 

fa 


T 

I 

la 


la       la 


la 


la      la,     With    a      fa 


ib=i 


J*. 


i 


la       la,      with 


* 

la 


I 


0 


r 

la 


fa 


la 


la,     With       a 


fa 


la        la 


la 


la. 


Study  of  Harmony. 


Ch.  Ser.  G.  page  17,  Ex.  1  to  5. 
Ex.  80. 

4- 


i 


J 


i- 


(: 


I=t 


*=$ 


-&- 


1K- 


B^H 


f=T^ 


m 


=t 


5' 


<5 


^ 


—J — -4- 


P 


^s: 


J- 


IS: 


& 


IZS2" 


II 


. 


=l 


II 


* 


-sp- 


-<S>- 


Ex.  81. 


•' 


r 


f^EF^' 


II 


^=1 


|EEE^ES3=3=  EEfeg 


The  difference  in  pitch  represented  by  two  staff  degrees  is  called  an  interval.  The  inter- 
val from  one  staff  degree  to  the  next  np  or  down  is  called  a  step.  The  interval  from  one  staff 
degree  to  any  other  not  the  next  is  called  a  skip. 

Har.  Fourth  Reader. 


58 


Psalm  146. 
/ 


i?^^ 


J — 4 


I  WILL   EXTOL  THEE. 

(Anthem.) 


RlNCK. 


.stzzpfc 


d 


*= 


i 

I        will  ex  -  tol     Thee,  O     God     my     King,         I      will  ex  -  tol     .  Thee, 


5 


m 


3EE3E3 


m- 


S> -0- 


wlll  ex^ 


«== 


w? 


U^J- 


j— j-J  i  ^  *  ^ 


-<s>- 


&- 


I       will  ex  -  tol       Thee.O  God      my  King,and  praise  Thy  name, and  praise  Thy 


i^EE^^^^z 


=t==j-L4--h-  1 r-~1 — 3^=H=7 


tol      Thee,  ex  -  tol        Thee, 

for      ev     -     er       and     ev  -  er, 

4 


P 


* — *~w    =a   *   * — *—  -*=J -5—* — 1—m-^- — F — *— •* — - 


name  for     ev 


J 


-*— *- 


=t 


er    and    ev  -  er,  for      ev    -    er    and    ev  -  er. 

5 


-■m — s>- 


3 


.„_^_ 


for      ev    -      er      and    ev  -  er,  for    ev 


s,. 


er     and      ev  -  er. 


/ 


(9 •» 0—-&. 0. 0. m—s 1 1 £2_ 


f=P— T— tri— r 


l     i    , 


I      will  ex  -  tol  Thee,  0      God     my     King,  and  praise  Thy  glorious  name, and 


I 


s^ 


st 


ij 


-JZL 


iS=5 


4=j 


Anthem,  a  vocal  composition  in  the  sacred  style,  set  to  words  generally  taken  from  the 
Bible. 


Har.  Fourth  Reader. 


J. 


y 


tp^=t 


59 


&=J=Je&3=^ 


praise  Thy  glorious  name  for  ev  -  er  -  more.     All  men  shall  speak  of  Thy  might-y 


*=E 


1 


=1t 


<l*  ^   * 


E^^ 


^3 


==J=S 


■e*- 


They 


J== i 


acts,  They  shall  de-clare  the  great-ness  of     Thy  mer  -  cy.  The  Lord  is 


1 


^ 


S 


^=5 


■#-^r 


^=S 


m  The  Lord   is 


JE 


p— jLr 


K 


|0 


rs 


F 


33 


r-r. 


-£2- 


r 


I? 


:p=g=ip2z; 


X=* 


nBtiat 


f= 


good  un-to     all         that   call     .     .  up  -  on  Him.     I      will  ex  -  tol  Thee,  O 


I 


p 


-*-* 


+—+—*- 


*=±=^I 


^3 


t* 


good, 


im 


is  good  to   all  who  call  up   -    on  Him. 


/ 


55fr 


F 


P 


iifeiibkii 


*-^-^ 


ra#. 


* 


32: 


<s>-£ 


^ 


God         my  King!       I     will  ex-tol  Thee.O  God  my  King!  O  God   my      King 


|^|Epi§^^^Z^^||EJgg|p=l 


Har.   Fourth  R«ad«r. 


60 


Oh.  Ser.  G,  page  11. 
Ex.  82. 


Study  of  Minor. 

Ex.  83.  Ex.  84. 


^^S^Bii^^fe^SpB 


Ch.  Ser.  G,  page  11,  Ex.  2,  and  page  23. 
Ex.  85. 


Ex.  87. 


^HEg^fe^^^^E^ 


£3=*= 


■©-r 


Ex.  88. 


!rp:^Ei|3:te 


l^l^l 


*=^ 


-e^ 


Ex.  89. 


U 


*«=: 


*=£: 


=E=F 


sr 


BE 


i 


j-fej     J     r»    jlJ  fJ_JJ-4^^ 


Pi 


s&jl^cz=* 


35L 


1221 


SI 


II 
II 


*EE5^ 


-^ ■»- 


d===T 


iN 


-j  *  *- 


Scale  Ascending. 


— t 


f      «<     ■> 


*     # 


Scale  Descending. 


H»r.    Fourth   Readar 


61 


Ex.  90. 


Study  of  Minor. 


%^^M 


#* 


\2 


m 


¥4-- 


#* 


m 


■&- 


3^^i^ 


?=m 


^i^^E^EplE^ 


22: 


II 


i 


3E^E^^SI 


Ex.  91. 


/?\ 


* 


^35 


4z±at 


=£=t 


3^pS323 


x 


Eg^^g^ 


-t? 


£3: 


g^j^g^^gj^^^^tegfl 


&■: 


s^^^^as 


The  octave  is  a  very  important  interval.     The  name  is  derived  from  the  Latin  ocio,  mean- 
ing eight.     Each  sharp  or  flat  in  the  key  signature  affects  all  the  octaves  of  the  degree  on 

h. 


which  it  is  placed,  thus : 


Har    Fourth  Reader. 


— -   is  understood  to  mean    E 


62 


Study  of  Harmony  in  Minor. 

Ch.  Ser.  G,  pages  11  and  23. 
Ex.  92. 


i 


K    J^  J 


wf=F=Ff=s=?r^*^ 


t> 


-q=^: 


■?■■*■ 


=j — rnH: 

-•0 ■» — ' — 9- 


ES- 


S- 


EX. 93. 


vJ 


m^ 


a 


EEEE 


E: 


ESS 


I       I       i 


m 


'-. — *— 


^=P^~ 


^Pf 


-<s>- 


EE=JEEEEJ=EE^ tJiSgSSB^ 


II 


& 


-9- 


*EEE 


3= 


g^=Pl 


Are  the  exercises  on  this  page  founded  on  the  major  or  the  minor  scale  ?     What  chromatic 
tone  occurs  most  frequently  ? 

p,  piano,  softly;   mp,  mezzo  piano,  moderately  softly;  pp,  pianissimo,  very  softly;  /,  forte, 
strong  ;  mf,  mezzo  forte,  moderately  strong  ;  ff,  fortissimo,  very  strong. 

Hw.  Fourth  Reader 


63 


BLOW,  BLOW,  THOU  WINTER  WIND. 

William  Shakespeare.  E.  J.  S.  Stevens. 


Andante.  __ 

Blow, blow, thou  win  -  ter  wind,  thou       art 


thou       art       not        so     un 


33EE5 


-*— ^ 


*N3^ 


^2: 


=t=t 


-V* 1 hS »-^-» <S>-s — H 


I  I      I      I      I      I 

kind  .  .    As  man's  in  -  grat  -  i  -  tude,  as  man's   in  -   grat 


i  -   tude. 


— m — -m- 


m 


pe^ees 


=t 


-SI- 


-K 


thou  art      not     so        un  -  kind     as  man's     in  -  grat    -    i 


i&fe&i 


tude. 


s 


fe=F 


pp 


1 T 


PF 


T 


F=pF 


I 


Thy     tooth     is         not      so         keen        be  -  cause      thou       art     not 


=t 


ff*=5F 


g?  . 


J 


~9 — *" 


Thy         tooth  is        not 


/, 


^ 


seen,      Although  thy  breath  be     rude,      al 


though  thy    breath  be  rude. 


§t=± 


^S 


P^ttl 


gfe  |p=3=£  = j ; 


keen  be  -  cause  tJiou  art    not        seen,         al     -     though        Uiy    breath  be  rude. 

Har.  Fourth   Reader. 


64 


SINCE    FIRST   I   SAW. 


i 


Ch.  Ser.  G,  page  4. 
P 


Thomas  Ford. 


i 


mmti?mm 


m 


t  - 


P 


:r" 


r 


S^ 


1.  Since   first        I     saw    your  face,      I       re-solved  To      hon  -    or   and       re 

2.  The     sun, whose  beams  most   glo   -  ri  -  ous   are,   Re  -  ject  -  eth   no       be 


I 


f? 


BE 


. 


■# #      '  ^ * ^~0- 


jfar 


S 


=t 


^ 


^ 


(8JB 


a 


£E* 


d=t 


g 


F 


f^rr 


*T-=rr 


»• 


nown     you:If  now      I    be  disdained, I  wish  My  heart  had  nev- er    known   you. 
hold  -   er.And  your  sweet  beauty.past  compare, Made  my  poor  eyes  the  bold  -  er. 


i 


m 


jm^_   »„ 


-3*=JL 


r 


What,    I     that  loved.and  you  that  liked, Shall  ay 


-j0- 
]cres.   S 


atSTJfc 


j-^e 


^m 


-4 


?=t= 


i  you  that  liked,. "Mian  we     be -gin         to 
Where  beau  -  ty  moves, and  wit  de-lights,  And  signs    of  kind  -  ness 


wran 
bind 


gle? 
me, 


I 


&=*= 


P 


* 


Jr 


>->-j-^ 
*■■»■•#•■♦• 


What,     I        thatloved,aml    you      that  liked  .Shall   we    be -gin    to  wran 
Where  beau  -  ty  moves, and  wit        de-lights,And  signs  of  kind-ness  bind 


gle? 
me, 


P 


f=F 


^ 


t~t 


/»J   I 


rrrf 


*■■ 


te* 


D.S. 


=F 


No,    no,    no,    no,   no,    my  heart    is   fast, And  can    not     dis  -  en     -    tan- 
There, there, there, oh  there, where'er     I     go,     I  leave  my  heart   be   -    hind 


SB 


FT 


s:le. 


m 


i 


> 


* 


^sfe=^ 


^i=3 


stir 


D.iS.,  DaZ  segno,  return  to  the  point  marked  by  the  sign  :g:,  and  repeat  from  there  on. 
r/,  rinforzando,  increase  the  tone  power. 

*  A  syncopation  is  an  interruption  of  the  regular  flow  of  the  music  produced  by  causing 
the  acceut  to  fall  out  of  the  regular  order  indicated  by  the  meter  signature. 

Har.  Fourth  Read«r 


65 


Dictation  (Oral  Review). 
2 


II 


-&— zg-hs?- 


"^— 2?-^' 


II 


-*»— 25T 


# 


-«S< <2- 


-«g— g= 


II 


^    <0 


II 


II 
II 


— * "*r 

Written  Dictation. 

The  key  is  F.     The  signature  is  E2y&     Where  is  Do  in  this  key  ?    The  meter  is  ^ 

What  must  each  measure  contain  in  3  meter  ?  Where  does  the  accent  fall  in  ^  meter  ?  The 
feature  of  this  lesson  is  the  following  rhythm  J/3,  which  is  taught  by  the  contrast  with  J"H 
The  teacher  should  familiarize  the  ear  with  this  rhythm  by  singing  some  exercises  which  rep- 
resent it. 


Intervals  (  Major  and  Minor  Thirds). 

Ch.  Ser.  G,  page  19. 

Compare  La,  Do,  with  Do,  Mi,  from  the  same  pitch,  thus  :  — 

12  3 


^^m^^m^^^mm 


La,  do,  la,  Do,  mi,  do,  Do,  me,   do,  La,  do,    la. 

Compare  similarly  each  third  in  the  scale  with  La,  Do,  and  Do,  Me,  and  tell  which  are 
major  and  which  minor. 

Sing  thirds,  major  and  minor,  in  varying  order  and  call  upon  the  children  to  tell  what 
they  hear.     Thus  :  — 

.1  2  3  4 


<?, 


V- 


-a> 


fv 


II 


% 


II 


-<5>-  -&•  -&-  -&-  -<9-  ~&- 

If  major  and  minor  thirds  are  sung  from  the  same  pitch,  the  difference  is  marked  ;  thus, 
sing:  — 


Har.   Fourth   Reader. 


r> 


*= 


!>* 


I! 


66 


Study  of  Rhythm. 


Vocal  Drill. 

To  be  sung  from,  various  pitches. 

Hfc*u    I    I    |    I   ||   I   I  iii 


/#Va  !   I   I   i  ii  i  I 


,  I 


S^gS 


§_3 


-  f^i! 


=^z^ 


=ttrJ=*. 


-*r+ 


Ch.  Ser.  G,  page  13. 
Ex.94. 


E|^l^^i^^-^|^^£^^^^^|1 


Ex.  95. 


<-h 


^_ g^_g~g— 1^1^^ 


l^j 


Ex.  96. 


3E^3E 


^p^^E— ~N1 


Ex.  97. 


f3* 


1 


b. 


3=3==i 


:4=^: 


-e^— 


ntz^z 


-gJ- 


3tZzJ 


«V 


Ex.  98  * 


fc^^l 


3_ 


*£±=ft* 


i_ig 


-1  X  1 


■j_.ru  T 


.  (■~"3l35_i 


^SE±dE- 


-*— =i- 


II 


The  rhythmic  and  chromatic  teachiig  of  this  section  is  fully  presented  and  explained  in 
Chart  Series  G.  T'.ie  teacher  should  open  each  lesson  with  a  study  of  the  chart  exercises 
which  illustrate  the  difficulty  about  to  be  taken  up. 

*  Three  beats  to  a  measure. 


Har.  Fourth  Reader, 


67 


Et.  99. 


Study  in  Rhythm. 


H. 


r   r  *    * 

-\- — i*— — i — 


^P¥=¥ 


$ 


n 


a- 


^^^=^^S 


I 


-■»         F- 


S^ 


^=£^1=^10 


=t==t=f= 


i^s^ 


:jf*=£± 


^   J    J    ^i      1    X 


I! 


Ex.  100. 


£5==^ 


S 


^^f^^g 


zffi 


-s>- 


=t 


g^^^ 


I 


fi^^^^^^^^m 


*=p 


:£= 


-g?        rJ 


IB 


tzfezz: 


:zis2: 


j^jrjj-jgj^g^a 


HH 


When  several  notes  are  to  be  sung  to  one  word  or  syllable,  the  notes  are  united  by  a 


slur,  thus  : 


Har.  Fourth  Reader. 


see     .         The 


68 


ROSE!  WHAT  DOST  THOU  HEAR? 


Ch.  Ser.  G,  page  11. 
Felicia  Hemans. 


ii^ 


*c 


. 


1 .  Rose  !  what  dost    thou     hear?       Brid  -  al,  roy   -     al 

2.  As       an     ea   -  gle      soar-ing  Through  a  sun   -     ny 


ffi 


1 


rose  ? 
sky, 


>     d 


^ 


yt 


d: 


=1 


.. 


How, midst  grief  and      fear,        Canst  thou   thus       dis 
As         a     clar  -  ion    pour-ing  Notes   of       vie     -    to 


close 


±      t*    -h. 


:zj: 


?d2=3t 


:f=F 


t=- 


~e^ 


F=t=: 


That     fer-vid  look      of       love         Which    to      thy  heart  leaf     glows,  That 
So     dost  thou  kin  -  die     thoughts    For  earth  -  ly    life      too     high,       So 


y?: 


^^^Hf 


*=4 


^ 


^ 


EE£ 


t= 


^ 


g^j 


fer  -  vid       look     of     love  Which  to         thy  heart       leaf 
dost   thou      kin  -  die  thoughts  For  earth    -  ly    life  too 


glows ! 
high; 


1^3S 


Fr^T^^gB 


s 


£=E3 


E£ 


3 — * ~   *=* 


-*-«- 


Har.  Fourth  Reader 


69 


m 


* 


* 


i*=^r- 


Rose !      too  much        ar    -  ray'tl         For        tri  -  urn  ph.   -  al  hours, 

Thoughts    of      rap  -  ture  flush  -  ing  Youth  -  ful       po    -  ef  s  cheek, 


£±=1 


i 


±=*- 


mm 


<tb-*       * i 


=t 


4- 


Look'st  tliou  through  the      shade         Of      these   mor    -    tal 
Thoughts     of     glo     -    ry     rush  -  ing  Forth       in    song         to 

dz ,        -s 


bowers, 
hreak, 


3 


:=?s=): 


a 


=£ 


1*     h     h 


^__JL_^z 


6    T    1 


:K=d 


Not    to     dis  -  turb      my      soul,    Thou  crown'd  one  of  all       flow'rs!  Not 

But  find  -  ing    the     spring  -  tide       Of    rap    -    id     song       too       weak,    But 


KJ  -•*-      "••      •♦-      -•*  ^— — ^ 


;^^§ 


^^ 


fr-Fj88^ 


r 


• 


* 


to        dis    -  turb     my  soul,  Thou  crown'd  one  of  all  .  .       flow'rs  I 

find  -  ing       the     spring-tide     Of      rap    -    id  song         too  .   .       weak. 


^^3T^^^3&S*=&=s=se& 


Xa>    Fourth  Rcaoat 


70 


THE   SILVER   SWAN. 


Orlando  Gibbons. 


I 


(Si 


=t 


S3^ 


' 


g 


I 


The       sil    -  ver       swan, 


who       liv 


in£   had       no 


I 


ffiE£ 


:< 


S^ 


^-33=^^=1 


The 


sil  -  ver       swan,  who    liv  -   ing,      liv    -    ing         had       no 


a 


ffi^ 


=t 


zzfc: 


The      sil  -  ver       swan, 


who 


liv 


ing>   had       no 


i 


&=? 


V=t 


r 


-+—■+ 


note, 


When  death     ap-proach'd  un   -    lockMher     si   -   lent 


I 


$=F 


v 


P^^^=^ 


3 


s?_ 


note.When  death  approach'd      un 


lock'd 


her 


lent 


I 


m 


¥ 


-=«- 


F^P^E^F^ 


fa 


note,  When  death  approach'd.When  death   approach'd  unlock'd  her  si  -  lent 


3 


r       P— T&> . 


g 


p!E£E?± 


I*— F 


throat,  Leaning  her  breast,    lean  -  ing  her  breast 

*■  ■'  a    - 


l 


:*=*-=F=^=E 


r 


E 


a  -  gainst  the  reed  -  y 

f  T  r 


Lean    -    ing  her       breast  a  -  gainst  .  .      the    reed      -      y  shore, 


W=& 


throat, 


I 


r- 


*z=jL 


sn 


3 


h — r 


*=*: 


throat, Leaning  her  breast 


a-srainstthe   reed 


shore, 


Har.   Fourth   Reader 


71 


/.. 


2=E 


-F 


3=^^s^3=3 


i 


shore,  Thus  sung  her  first         and  last,    and  sung  no  more:  Farewell,  all 


:±=*=*=Ce3 


Sung  her  first  and  last,  her  first  and  last,  and  sung         no      more : 


Fare- 


S 


:± 


=  ==|: 


3=t 


-*- 


* w-r~ai- 


-+-9+- 


Thussung       her  first  and  last,        and  sung 
P. 


no    more :  Farewell,  all 
/ 


&=*=t: 


S?± 


^e^£s 


joys,        Fare -well,     all        joys, 


O        death, come  close   my 


}} 


^^ 


fe 


F 


^m 


d= 


*=^ 


-<s>- 


It=E 


well,  all       joys,     O  death come  close  my     eyes, 


--'- 


1 


t=tzj* — M 


joys 


O     death ,  come  close 


my         eyes, 


1*. 


2= 


-■# — r*^ m- 


--t=& 


II 


eyes, 


More  geese  than  8 wans       now     live,  more  fools     than    wise. 

/ 


£q^J 


S3 


More  geese  than  swans  live, more  fools  than  wise,  more  fools  than  wise. 


& 


i 


* 


:s2_ 


uZM 


^^-T 

More  geese  than  swans  now  live,         more    fools 

Har.   Fourth   Reid*f. 


II 


than  wise. 


72 


Study  in  Harmony. 


Ch.  Ser.  G,  page  17. 
Ex.  101. 


3^^5 


3^S3E5 


II 


s=p 


tru- 


=t 


o. 


The  G  clef  indicates  the  position  of  the  letter  G,  P%— g—  The  clef  itself  is  a  modified 
Gothic  G.    The  letter  above  G  is  A,  and  the  one  below  is  F.     The  letters  follow  in  alphabetical 

order,  but  only  the  first  seven  letters  of  the  alphabet  are  used :  jji 

It  has  been  found  that  all  objects  which  emit  sound  are  in  a  state  of  motion.  This  motion 
is  called  vibration.     As  the  rapidity  of  the  vibration  increases,  the  pitch  of  the  tone  rises. 

The  scientist  Helmholtz  found  by  the  use  of  fine  instruments  that  fewer  than  sixteen  vibra- 
tions a  second  produce  no  sound  that  the  human  ear  can  detect,  and  that  from  sixteen  vibra- 
tions a  second  the  tone  steadily  rises  in  pitch,  until  at  thirty -eight  thousand  vibrations  the  tone 
is  again  inaudible  to  the  average  human  ear,  though  certain  animals  have  been  found  to  hear 
sounds  produced  by  a  still  higher  number  of  vibrations  per  second. 

For  the  purposes  of  music  the  tones  produced  by  not  fewer  than  forty  nor  more  than  four 
thousand  vibrations  per  second  are  employed. 

Har.  Fourth  Reader 


LADYBIRD. 


73 


Andante. 


cr  ^0.         ^.        ^.         ^0. 


5? 


Come, 
Go, 
Fly, 


K. 

La 
La 


dy 


bird, 
bird, 
bird, 


and 

fly 

a  ■ 


i==*r=^ 


« 
* 


sit 
home, 
cross 


you 
fly 

the 


down 
home, 
hedge, 


Up 

Tis 

To 


■    on         my 

all         on 

neigh  -  bors 


as: 


1 


3 


■J  \+. — + 


35 


i~l  5-   >   P   f^T 

hand,  up  -  on    my    hand, 

fire,  your  children  cry  — 

there,  to  neighbors  there, 


Be  sure    I      will 
So  sore-ly,     oh, 
Be  sure  they  will 


r5*T< 


r  r  ■??  * 

not  harm  you ;  I  could  not 
so  sore-ly!  The  spi-der 
not  harm  you !  They  could  not 


I 


I^^^IF^-^ 


s 


E^iiJ 


ta: 


3; 


=^ 


iEEfefe 


«T 


f* 


*    f.    u»    r      l»     u 


d*= 


u#     ^     •"     ■  -  k      U*  £^u» 

hurt    such    pret  -  ty    things,       I       on  -  ly  want  to  see  your  shin-ing 

spins  them  round     a   -   bout,       Go,    La  -  dy-  bird,  and  take  them 

hurt    such    pret   -  ty     things,    They  on  -  ly  want  to  see  your  shin-ing 


# 


=*E 


=t 


pczzt 


3 1* — £ 


m 


<5 


?=3 


=f 


33=3 


;- 


Sl 


P^fT^ 


r 

wings,       Your   shin  -  ing, 
out,  Your     chil  -  dren, 

wings,       And     greet  them, 


your 
your 
and 


shin    -  ing 

chil  -  dren 

greet    them 


Wf 


r 


wings 
cry 
all 


so 
so 
so 


pret  -  ty ! 
sore  -  ly ! 
pret  -   t y  ! 


Har.  Fourth  Reader 


si^fs^r^f 


3= 


II 


74 


Minor  Study. 


Vocal  Drill. 
Minor. 


_ , — i     i     I     i—. 


Ch.  Ser.  G,  page  11 
Ex.  102. 


'*■! 


&S 


d= 


J 


m 


3= 


Ex.  103. 


iEg^p^^^^sy^^ 


Ex.  104. 


Ex.  105. 


EfHiPii 


*a 


t^ 


P^3=33^ 


Ex.  106. 


<l 


EI3 


^ 


*-*—*- 


■+->-+ 


J.J** 


^2 ^^"-n-i 


Ex.  107. 


3 


m||=S§ 


59 


fe£ 


Ex.  108. 


Chromatic  Study. 

Ex.  109.  Ex.  110. 


'-2 


:j£2 


l=± 


* 


gfe^^fe^a 


Ex.  111. 


Ex.  112. 


Ex.  113. 


|g^g=Bj|^^g=Hg|^^3^ipp 


Har.    Fourth  Reader 


75 


Study  in  Harmony. 


Ch.  Ser.  G,  page  16. 
Ex.  114. 


a 


^S 


zz: 


* 


=?5 


"■'—*■ 


II 


^r-r+^P^^r^r^P^f 


i 


ii 


§^ 


si 


^9=? 


S 


»i — s- 


Ex.  115. 


aggfeiie 


It  has  been  ascertained  by  careful  experiment  just  how  many  vibrations  per  second  will 
produce  each  tone  of  the  scale,  and  a  rule  has  been  found  by  which  the  vibrations  for  the 
other  tones  of  the  scale  can  be  found  from  a  given  pitch. 

Thus  if  we  say  that 


cf 


is  produced  by  a  body  vibrating  at  the  rate  of  two  hundred 


and  fifty-six  times  a  second,  high  C 

five  hundred  and  twelve  vibrations. 
Har.  Fourth  Reader. 


will  be  produced  by  just  twice  that  number,  or 


76 


ROCKABY,  LULLABY. 

( A  Cradle  Song.) 


J.  G.  Holland. 

pp  (  Closed  lips.) 


H.   ERNE8T  NlCHOL. 


1.  Rock     -  a    -  by, 

2.  Rock     -  a    -  by, 

3.  Rock    -  a    -  by, 

(  Closed  lips.) 

—I — 


lull 
lull 
lull 


4     i      I  J-      i     J1 — i 


a  -  by,  bees  in 
a  -  by,  rain  on 
a   -   by,         clew         on 

X 


the  clo  -  ver! 
the  clo  -  ver! 
the       clo    -     ver ! 


r 


*== 


=* 


=£ 


2E 


3=3 

-9m- — m- 


Croon  -  ing  so  drow  -  si  -  ly,  cry 
Tears  on  the  eye  -  lids  that  wa 
Dew        on     the        eyes        that    will      spar 


ing  so 
ver  and 
kle       at 


f 


■T 


low ! 
weep ' 
dawn 


m 


j 2~ — • — t 


— & 


K—t 


-i=t 


Rock  -  a  -  by, 
Rock  -  a  -  by, 
Rock   -     a  -    by, 


V 

lull 
lull 
lull 


^* 


dear 


by, 

by,       bend 
by,       dear 


-* — E- 

lit    -   tie 
ing         it 
lit    -  tie 


rov 
o    • 
rov 


v- 

er ! 
ver, 
er! 


=t 


r©-1- 


Har    Fourth  Reader 


77 


:=&=^: 


if      ^     If  >      £     f 

Down     in  -  to  won  -  der  -  land    go  !    . 

Down     on  the  moth  -  er   world  sleep  ! 

In     -  to    the  still  -  y    world  gone ! 
Ik 


jj,"  *  £  if  if       ^    i*» 

Down  in  -  to  won  -  der-land, 

Down  on  the  moth  -    er  world, 

In     -  to  the  still  -    y  world, 


Down       to         the         un 

Down       on        the       oth 

In     -    to         the       lil 


*      *    y    u 

der  -  land,  Down  in  -  to 
er  world,  Down*  on  the 
y    world,      In     -   to      the 


If 
won 
moth 
still 


der  -  land, 

er  world, 

-   y    world, 


i 


? 


3= 


^ 


i 


* 


^ 


:£=* 


f 

Down      to 
Down     on 


f 


^          '          If          if          if  £  k 

the         un    .  der  -  land,  Down  in  -  to 

the         oth   -   er    world,  Down  on  the 

-  to  the 


If 
won 
moth 
still 


q« — 1»— 

der -  land, 
er  world, 
y    world, 


v  r 

won  -  der  -  land,  go,  O 

oth    -  er      world,  sleep,  O 

lil     -    y      world,  gone,  O 


go!  . 
sleep ! 
gone ! 


Har.  Fourth  Reader. 


78 


FAITH. 


F.  StLCHER  (1789-1860). 


kk 


d=* 


I      I 


f    f    t 


=t=t 


r  r 


What   joy     on     earth    is     sweet  -  er,  What   hap  -  pi  -   ness     so    great, 
As       un  -  to     God    our     Fa  -  ther,  Our     lives  to      con  -  se  -  crate  ? 


&3^ 


3==t 


3^^ 


^ 


d_ -j— .J! 


h=t 


'mm^m^kB 


i 


We  know  that    we      are   near        Him  Wher  -  ev  -  er     we   may  rove,    For 


fci5 


-- 


3=i=t=s^ 


^ 


» 


p 


s 


55 


Spa 


*^^ 


though  no     eye    can      see  .  .     Him     The  heart  can      feel    His      love. 


s/ 


I3EET: 


i=3^^^3=j^=| 


mm 


If  we  remember  what  we  learned  about  the  octave,  we  are  able  to  understand  why  the 
natural  is  used  in  this  case  when  we  wish  to  make  the  staff  degree  represent  a  higher  pitch 


n^  — — .     The  flat  which  is  canceled  by  the  natural  appears  on  the  octave  of  the 


Sol,  fl,      sol. 
staff  degree  affected. 


Har.  Fourth  Reader. 


79 


Dictation  (Oral  Review). 
2  8 


221 


=feE^^|iE£?J= 


?1K1}* 


II 


-**— <s>-^ 


I 


Written  Dictation. 


r—$% 3 

The  key  is  G.     The  signature   is  Fgj- — .     Where  is  Do  in  this  key  ?     The  meter  is  q. 
What  must  each  measure  contain  in  ^  meter  ?     Where  does  the  accent  fall  in  ^  meter  ? 


i 


A 


z&. 


•  » 


sS~ 


=MB 


« 


^^T^g^^^^-^::feH 


i 


Intervals  (Perfect  and  Augmented  Fourths). 
Ch.  Ser.  G,  page  20. 
Compare  Do,  Fa,  with  Fa,  Ti,  from  the  same  pitch,  thus  : — 


II 


II 


#* 


-&-         -&- 


-&-         -&- 


*= 


Compare  similarly  each  fourth  in  the  scale  with  Do,  Fa,  and  find  if  possible  the  aug- 
mented fourth,  and  then  sing  the  augmented  fourth  from  each  tone  of  the  scale,  and  a  perfect 
fourth,  where  the  augumented  fourth  would  naturally  appear.     See  Chart  G,  page  20. 

Note  the  tendency  of  the  voice  to  progress  to  Do  from  Ti  (Fa,  Ti — Do ).  Note  also  the 
tendency  to  progress  to  Mi  from  Fa  ( Ti,  Fa —  Mi ).  This  tendency  to  certain  progressions  or 
succession  of  tones  in  melodies  is  called  voice  leading.  In  good  melodies  the  voice  leading  con- 
forms to  the  natural  tendency  of  harmonic  movement. 

Sing  to  the"  pupils  repeatedly  until  the  interval  is  instantly  recognized,  such  combinations 
as  the  following : 


8  (Two  voices.) 


ga3-jr 


Note  that  the  effect  produced  by  combining  these  tones  as  in  3  is  one  of  finish  or  ending, 
hence  we  may  look  for  this  interval  at  the  close  of  a  phrase. 

The  pitch  of  D  will  be  found  by  multiplying  the  number  of  vibrations  required  for  C  by  |. 
E  will  be  found  by  multiplying  the  same  number  by  f,  F  by  f,  G  by  g,  A  by  £,  B  by  y,  and 
C  by  2,  as  previously  given. 

H«r.   Fourth   Reid«r. 


80 


Chromatic  Study. 


Ch.  Ser.  G,  page  17 
Vocal  Drill. 


Ex.  116. 


Ex.  117. 


g   .  J    ,  I 


Lfefe^ 


* — •*- 


?  h  li^^Ui 


II 


Ex.  118. 


¥=& 


t=f 


Ex.  119. 


?2I 


P^=E 


b 


^ 


-+P~ 


II 


Ex.  120. 


Ex.  121. 


;^sii 


Ex.  122. 


^Ip^p^^S 


=J=ta 


Mi,   fa,    mi. 


Sol,     la,   sol. 


Ex.  123. 


spig^i^ri 


The  first  note  of  any  scale  is  called  the  key  note.     The  staff  degree  on  which  it  occurs 
gives  it  its  name.     Thus  a  scale  having  its  first  note  on  the  second  line  would  be  the  key 


of  G. 


o     ^ 


1 


If  the  staff  degree  on  which  the  first,  or  key  note,  of  the  scale  occurs  bears  a  sharp  or  flat 
in  the  key  signature,  the  fact  is  indicated  by  adding  the  word  sharp  or  flat  in  giving  the  name  of 

the  key.     Thus  a  scale  beginning  on  B  (third  line )  in  this  case  pyftjk-gg— =>— ^--^ 

'-^Y — <??s 

would  be  the  key  of  B  flat. 

War.  Fourth  Reader 


81 


Ex.  124. 


Study  in  Harmony. 


=hP=*$ 


f-~*-\ fr 


&:£eE 


:[=tt 


:P=S: 


^^g^^^^^gg^^^^ 


H-  £ 


I 


=t 


^& 


^  *  ^ 


aa 


SE 


? 


-*— * 


±= *' 


I 


i=^ii=0 


f^3E«S^E3ia^EKiE3SEgEEfc 


S? -* 


Ex.  125. 


ffl^: 


*    *    *    *  * '  d  J  d  .*.  iF~L  S  * 


=CT 


i 


^r^tt-** 


« 


a 


£5 


J  J  ^IJ-T3 


a 


«3E 


P=— * F= 


II 


I 


P 


3E=PpJ^Eg 


Har.   Fourth   Reader. 


82 


ON  THE   SEA. 


G.  Donizetti. 


1.  Oh,  what   joy    to  be     Out   on   the  shin  -  ing  sea,  Row-ing    in  time     to  our 

2.  Sea'  birds  hov-er-ing  Round  us  on  snow  -y  wing, Show  their  de-light    at .   . 


!^!?ll^^|^^^^Sp|p:i| 


~¥%)k              *.          T           x    "1 

— 1      - 

1|— fr-, 

s — h — Is — 1 

fir* — ^ J^ — frf-fc—  *-  J— 

—J rV- 

r*^ #— J- 

^_  J — *_ 

song,  sung    so    mer  -  ri  -  ly !    .Hearts     so      full      of     glee, 
hear  -  ing    the   song   we  sing,      Sun  -  beams  shim-mer  -  ing 

From  care    and 
Gold    on      the 

<tti+ 

r*        s     »_ 

■_           K       1 

<?r*      IS      "t1        b 

~fe  "ft 

1 T» 

-J-— ^-+- 

-* — P8— JM 

W    J  J»  J' 

tJ^z^zzMzzd 

*         •* 

•     » 

* 

■L                      J 

w^^^^^^^^^m 


trou  -  ble   free,      Light    as     the     zeph  -  yr     that     rip  -  pies    the     sea. 
wa   -  ters  fling,    Bright  -  er      by      far     than     the   crown    of        a     king. 


*=*= 


=*C 


t=aE 


* 


^_L__t__jL___1_ 


"*-! — ZjfT 


m 


B 


* *0- 


Row, 


row,     we       can      not     grow  wea  -  ry,      Row,  row,     we're 


V 


^ 


~ 


*        d        IF 


=£ 


-L-*i *— D 

Kar.  Fourth  Reader. 


83 


It— J* fr 


S^3 


£=P 


i=^^i 


— fc- 


=S*= 


I 


strong  and  we're   cheer  -  v,      Sing      and     row, 


sins      and       row. 


^^Ei 


~m — W 


EEESe 


±=32: 


3^ 


*-* 


^11 


Oh,  what  joy     to     be     out   on   the  shin  -  ing  sea,  Row-ing   in    time   to     our 


=*: 


*— w 


F5 


* — * 


^=^=^ 

-*-•♦•■♦• 


; 


^=^: 


-+—*- 


^^£ 


song   sung     so   mer  -  ri  -   ly !      Hearts,    so     full      of   glee,    From  care   and 


# 


^z===^=tJzr-E^ 


^m 


d^3£ 


^=3=P?-^-3 


BB^^^^ 


— - fc»- 


-> -f> - 

J^     J w- 


EEEE 


II 


trou  -    ble   free,     Oh,        what     joy       to       be       out       on       the       sea! 


t^S 


~ 


==£ 


H 


:i: 


Is 


II 


Htr.  Fourth   Reader. 


84 


Con  molo.  mf 

-em 


0   FORM   OF   PUREST   SPLENDOR. 

Felix  Mendelssohn. 


t: 


3 


*=± 


»  * 


1.  O    form   of     pur -est  splen-dor    To     mor-tal  sight    re-vealed;  "Whose 

2.  To  thee  shall  ev  - 'ry     na  -  tion  One   day  their  serv  -  ice  bring,  While 


^^^EEJJEE^ 


3^ 


ac-eents  soft  and  ten-  der  Tlie  sweetest  charm  can  yield,  The  sweetest  charm     can 
dark  dis-  sim  -  u  -  la  -  tion  And     er  -  ror  far  they  fling,  And  er  -  ror     far  they 


yield ;         Thy  love-ly  face   we   see, 
fling.        Then  peace, and  rest, and  joy 


O  Truth, and  bow  to  thee. 
Shall  hap-py  hours  em-ploy, 


S£ 


\^8-». 


:*=£: 


m 


=£ 


m 


-4>-N^! 


^ 


R 


:*— 1- 


-*     * 


> 


-*** 


O  Truth,    O  Truth,  and  bow   to  thee,  and  bow   to 
Shall  hap-  py  hours  em-ploy  .Shall  hap-py  hours  em 


/ 


:£*: 


5t 


2rf£ 


:*=£: 


To  thee  we     ev  -  er  ren-der      Our  hom-age  full  and  free,  Our  hom-age 

And  storm-y    ag  -  i    -  ta-tion      No  more  the  world  an -noy,  No  more  the 


Our    horn  -  age      full 
No     more    the      world 


and     free,  Our 

an  -  noy,  No 


Con  moto,  with  motion,  not  dragging. 


Har.  Fourth  Reader 


85 


? 


SS 


—~\ — i F- 


dim.    pp 


N^g^^Pa 


full  and  free,  Our  homage  full         and     free,     Our  hom-age  full  and  free, 

world  an-noy,  No  more  the  world      an   -  noy,      No  more  the  world  annoy. 


i^^ 


££ 


l=E 


»    d 


^^=s^% 


m 


hom 
world 


age    free, 
an  -  noy, 


Study  of  Rhythm. 


Ex.  126.    Ch.  Ser.  G,  pages  15  and  16. 


m 


&± 


-_ £ — \-rn- 


33 


i 


i 


PfS&- 


S:3: 


« 


K 


-n 


Wj  jLQJi»fl 


f=X; 


zzins: 


r*-h 


:jfc*: 


tr  sjH" 


Sill 


r    rr 


r- 


•F 


Ex.  127. 


Iii^i^^^^^^pn 


=t 


^ 


3h*  I  ?|*^iEg~ 


H»r.   Fourth   Reader. 


86 


BY   THE   BROOK. 


1.  On   •   ward 

gen     - 

tlv 

still 

be 

flow 

'i.    In           the 

shades 

•with 

flow'rs 

•A      - 

houl, 

3.  May        thy 

niur    - 

mar 

low 

be 

bring 

Andanlino. 

ing, 

us, 

ing 


Franz  Abt. 
Brook,    that 
Brook,     we 

Friend  -   ly 


f>& 


1.  On  -  ward    gen    -    tly       still       be 


2.  In 


the  shade     with  flow'rs     a 


3.  May      thy   mux   -    mur      low       be 


=fc 


=te 


x 


dost         be   -   side    . 
lay  us        down 

sleep        our       eyes  . 


P 


me 
by 
to 


wind, 
thee  ; 
close  ; 


-fri  -1 
is      * — 

N 

*  - 

*= 

-     1 

—0 

t- 

F   ^"~ 

=jy- — 

in 

flow  - 

bout 

bring 

f- 
-V 

ing. 

us, 

-ing 

Brook, 
Brook, 
Friend    - 

— 0~r 

that 
we 

dost 

lay 

sleep 

— i 

be  - 

us 

our 

side 

down 

eyes 

me 

by 

to 

— h- 

-f 

wind, 
thee ; 
close ; 

1 — 

^5= 

Through  the 
Have      not 
And       the 

=  1 

§- 

-0 — 

J 

0~ 

-m- 

=£=* 

-J— 

HZ^ 

0 

■  • 

1 fS- 

— * 0 

mead 


'ry 

thy         Joy 
be   -     side 


Through     the  flow  . 

Have  not  thou 

.May  the  birds 

ores.  ^^ 


ows       go 
with  -  out 
thee      sing 


ing.  Bend       thy 

us,  Glad         as 

ing  Give        the 


m 


flow  . 
thou  . 
birds 


=s=* 


r 


flow     -     xy         mead  -         -  ows      go 

thou  thy       joy with  -  out 

birds  be   -     side thee      sing 


d 


ing,  Bend  thy 
us,  Glad  as 
ins:       Give       the 


3? 


ifc^E 


'ry 

thy 

be 


mead 
side 


ows  go 
with  -  out 
tbee     sing 


ing,         Bend         thy 
us,         Glad  as 

ing         Give         the 

Har.  Fourth  Reader. 


87 


it 


course 
thou  . 
wea 


the  wood  to  •  find, 
art  let  us  be,  . 
ry     heart        re  -    pose, 


3* 


=t 


course        the 
thou  art 

wea      -      ry 


wood  . 
let  .  , 
heart , 


=Jt 


to        find,        the     wood  to        find, 

us         be,  yea,       let  us        be, . 

re   -    pose,       the     heart  re   -   pose, 


Thro'  the  flow    -    'ry       mead  -  ows       go 

Have  not    thou     thy      joy         with  -  out 

May  the    birds      be   -   side       thee       sing 


■=T 


ing,         Bend        thy 
us,  Glad        as 

ing  Give        the 


i 


~rTT<>  *  JL  g^^ 


I 


H£ 


r 


$ 


t  i  i 


£ 


■<9- 


-1 


mm 


course 
thou  . 
wea 


the 
art 


wood         to        find, 
let    .        us        be.  . 
heart        re    -    pose. 


3 


I 


3=* 


3^5 


course      the       wood 
thou  art        let    . 

wea     -     ry         heart 


3=3F 


to       find,        the     wood        to        find, 
us       "  be,         yea,       let  us  be. 

re  -    pose,       the      heart       re   -    pose. 


H»r     Fourth  Reader. 


88 


Vocal  Drill. 

To  be  sung  from  higher  pitches. 


|j^^|gE~^*^-HNl 


Ch.  Ser.  G,  pages  11  and  13. 
Ex.  128. 


Ex.  129. 


=* 


^^^m 


Ex.  130. 


Azitzt 


pgg^^g 


^^eJ=»=3 


«— *- 


3 


a*--*-* 


a 


II 


Ex.  }31. 


3ES^3 


3^£ 


^g^E 


-8 


S 


z^—jt 


>- 


f 


mi 


The  interval  from  any  tone  of  the  scale  to  the  next  above  or  below  is  called  a  second;  but 
if  we  examine  this  exercise  we  shall  find  that  seconds  are  not  all  alike, 


I 


:jt=^ 


■?o 


=*== 


for  no  chromatic  tone  can  be  placed  between  three  and  four  or  seven  and  eight  of  the  scale,  or 
in  other  words,  the  staff  degrees  lettered  E  and  F,  and  B  and  C,  represent  pitches  nearer  to- 
gether than  the  others  do. 

If  256,  the  vibrations  required  for  C,  be  multiplied  by  f  we  have  288,  the  vibrations  re- 
quired for  D.  288  —  256  =  32.  If  we  m  lltiply  256  by  f-  we  have  320,  the  vibrations  required 
for  E,  or  32  vibrations  more  than  D.  But  multiplying  256  by  f  we  have  341^,  or  the  vibrations 
required  to  produce  F,  a  difference  of  21 1  vibrations,  showing  a  lesser  difference  between  E 
and  F  than  is  found  between  the  other  tones. 

Fowth  Reader- 


Study  in  Rhythm. 


89 


Ex.  132.    Ch.  Ser.  G,  page  15 


^E^-t*—*- 


Ee£3=PeJ 


« 


Se 


3=q 


^ S>- 


:^z 


1 ■ — « 1 0 — ^ — -j-i-*- 


3=S 


ii==ZZ 


ll 


S 


"* #" 


Ex.  133.    Ch.  Ser.  G,  page  18. 


8 


fi 
II 


2 


^=* 


-*-* 


3E£ 


r- 


M= 


^= 


s* 


■*^=W- 


^ 


£5 


^ 


^EJEEEE^i^^g 


q: 


fT  *   3 


P 


fep=T5- 


E^I^p^3=2=§I 


■^    -j — # 


H»r.    Fourth   Reader. 


90 


Vocal  Drill. 


Ch.  Ser.  G,.page  7. 
Ex.  134. 


S^ 


m 


d 


J^-r-i 


ll 

II 


^=E=F 


fT 


I 


P 


2 


WW* 


i?-*- 


Ex.  135. 


-a 


±=Z&1 


±=k 


3^ 


H"j- 


*fe 


m 


s 


^ 


iHU 


Ex.  136. 


I 


P* 


SES^^EE* 


r^ 


3fc 

fcfi: 


=l==l 


-i 


*=3=^: 


d^5 


H3 


r 


~4 


asT 


1  fl 


r 


I 


II 


p 


:5= 


as 


ir*— *-*- 


■^k        i  ni  ~      -A-         -^-  ir  — ■+■    —  *>  ■    '■  ■  ■ 


%- 


The  seconds  between  C  and  D,  and  D  and  E,  are  called  major  or  large  seconds,  while  the 
seconds  between  E  and  F,  and  B  and  C,  are  called  minor  seconds. 

Har.  Fourth  Reader 


91 


EARLY   SPRING. 


Ch.  Ser.  G,  page  11. 
Andante. 


Robert  Schumann. 


-j* — a, =^t-i* — ^ — i* — *i-i 


'•        *       ¥ 

1.  O       ten  -  der  green    of      ear  -  ly   spring,  On  trees   and   hedge  -  rows 

2.  O    sweet  -  est     hue      of      Na  -  ture's  dress  !  O    prom  -  ise   bright    of 

3.  And  when       a     robe      of       liv  -  ing  green    On    long  -  hid    fields     a 

4.  When   life       is      sad     and   drear    to      me,   And  friend  -  ship  fails     in 


=|t 


rfic 


=£=ft 


r* 


=* 


=* 


mf 


^— I* 


^ 


:?»=*-*— + 


p—*-- 


5 


w      2     2     s      s 

bios -som-ing:Wel-come    to     me     thy  beau-ty    rare,  Wea-ry     of  win  -  tei-, 
fruit-  fulness  !  How   ma-  ny  hearts  will  gain  from  thee  Hope   of      a     fu  -  ture, 
gain      is  seen, Then  from    the   ice  -  im  -  pris-on'd  soul  Oft  will    its  chill  -  y 
sym  -  pa  -  thy,  Na  -  ture     a      se  -  cret  balm  can  give,  Help  -  ing  her  wounded 


^f^^P^-^*%te?=S 


:|S=fc: 


P 

bleak      and  bare, 

fair       and  free, 

bur  -   den  roll, 

child       to  live, 


£  ^       k 

ry  of  win 

Hope       of  a  fu   . 

Oft      will  its  chill 


ter,    bleak 
ture,    fair 
y       bur  ■ 


Help  -  ing    her  wound  -  ed      child 


and 

and 

den 

to 


bare, 
free! 
roll, 
live. 


When  we  begin  onr  scale  on  Do  we  place  the  minor  seconds  between  three  and  four  ( Mi, 
Fa)  and  seven  and  eight  (Ti,  Do)  without  any  thought  about  it  whatever,  and  the  scale  which 
we  thus  give  is  called  the  major  scale  on  account  of  the  arrangement  of  the  seconds  in  it. 

Hsr.  Fourth   Reader. 


92 


Allegretto, 


SOLDIER,  REST ! 


James  Thomson. 


>ol  -  dier,     rest !  thy       war     -       fare       o'er, 

[unts-man,    rest !  thy       chase  is         done : 


llW  j-i 


r 


thy 
thy 


Sleep 
While 


tlie 


5P* 


j,  jJJ^j  a'J.'J'  J-U  j, 


m 


-* — aF 


£=£ 


-h- 


ate 


:^c 


71 


*=* 


r~T* 


sleep  that     knows  not  break  -  ing.     Dream    of       bat  -  tied 

slum     -      brous   spells  as  -  sail        ye.      Dream  not     with     the 


f-4 


sr 


FIf^ 


w 


«'  -L. 


*£ 


1*1 


Jfc=fe 


f5? 


, 


r-r 


^W 


=t 


fields     .  no     more, 
ris     -       ing   sun 


Days  of  dan  -  ger, 

Bu    -     gles  here  shall 


3=± 


*    •*.  ■» 


d.    W 


=1 


=i=d=fEg»B 


Days 
Bu 


of    dan 
glesliere 


ger, 
shall 


nighte,    .    . 
sound,    .    . 


yyfee^ 


#? 


1 — r 

nights 
sound 


1 — r 


=3=  1  J.gn 


->-=-> 


of  wak-ing,  of  wak  -  ing. 
re-veil  -  16,  re  -veil  -  le. 


d    1  J 


In     our  isle's     en  -  chant-ed  hall, 
Sleep  !  the  deer      is     in       his  den ; 


a 


~J-^        *    -*        W  Yd 


nights      of 
3ound     re 


Har.  Fourth  Reader. 


93 


1   p       p      H~W~ 

Hands       un  -  seen       thy 
Sleep !      thy  hounds    are 


-T3-J* i -f^-4 

-j~ f    f     4       4  !^E 


t 


^ 


i 


i 


couch  are  strew  -    ing,  Fair    -    y      strains     of 
by       thee       ly    -    ing ;  Sleep !  nor     dream     in 


rau  -  sic    fall, 
von  -  der   crlen 

¥=f 


Ev' 
How- 


ry sense        in      slum 
thy   gal    -    lant    steed 


ber   dew  -  ing, 
lay     dy  -   ing, 


^=5=^: 


fv— 3- 


m 


i=& 


l^=JF 


dfe 


■&>—. ' — <5>-r 


jj 


Ev'  -  ry    sense       in     slum 
How    thy     gal  -    lant  steed 


ber 
lay 


dew 


ing. 
ing. 


3=£=3=£^m 


**= 


Ev'    -   ry       sense      in      slum 
How      thy        gal  -   lant   steed 


PP 


ber 
lay 

thy 
thy 


— Gh-r 

dew 
dy 

war 
chase 


-S^- 
ing, 
ing, 


fare 

is 


S 


* 


3? 


fe^S^ 


Sol    -    dier,         rest! 
Hunts  -  man,         rest! 


thy 
thy 


war  -  fare 
chase      is 


1X1 


3-3 g- 


-3-3- 


=i* 


3-3- 


-3—3- 


=£ 


-3-3- 


dew     - 
dy     - 

Har.  Fourth  Reader. 


ing. 
ing. 


*—*- 


94 


*$EJEi 


J^i 


?m?m 


o'er,  Dream  of       fight     -      ing     fields 

done,  Think  not     of  the     ris 


no      more ; 
ing     sun, 


*t 


*:    * 


as 


^S 


3 


la 


If*- 


SEE* 


see 


>—  — «— J- 


-^ 


H*E 


* 


*»: 


r 

Sleep         the        sleep         that  knows  not     break  -  ing, 

For  at         dawn     -     ing  to  as  -  sail  ye 


3^^ 


w 


-=r 


=t 


S 


^3==£ 


Solo  ad  lib. 


*fcfe 


toe 


A 


XT 


Morn 
Here 


-i— a 


hp 


* 
* 


of 


r 


I 


d^F*- » — 3—^- 


toil 
bu 


*fc 


nor     night 
gles    sound 


f tr- 

of    wak  -  ing, 
re  -  veil    -   le, 


-=( — =»- 


=£=r=£ 


g^3Eg 


. 


355^f 


1   1 


pp 


3?3 


^H 


Morn       of    toil,    nor     night       of       wak 
Here        no   bu  -  gles    sound     re  -    veil 


ing. 
16.  . 


^Sfe^^3^^§ 


d^g^g 


-x— * 


Har.   Fourth   Reader. 


95 


Dictation  (Oral  Review). 

Pupils  name  the  intervals  which  the  teacher  sings,  after  the  tones  are  named. 
12  3  4  5  6  7 


i=lp§i=[]i^i|sll^| 


m 


II 


s 


10 


© 


-&— a- 


\?$EEk- 


p—^Ks-^riks. 


II 


11 


12 


jza^g^l 


13 


14 


15 


16 


II 


II 


II 


II 


:T- 


1*- 


srll-s=- 


iH^ 


2Z? =22- 


Written  Dictation. 

The  character  called  the  natural  or  cancel  ( jj )  is  used  to  remove  the  effect  of  a  sharp  or 
flat  that  precedes  it.  If,  for  instance,  we  wish  to  remove  the  effect  of  a  sharp,  which  causes 
the  staff  degree  to  represent  a  higher  pitch,  we  apply  a  natural  ;  thus  restoring  the  degree  to  its 
natural  condition.  If  we  wish  to  represent  a  still  higher  pitch  than  a  sharped  staff  degree 
indicates,  a  character  known  as  a  double  sharp  (  x  )  is  used. 

The  following  dictation  exercises  are  intended  to  illustrate  the  principle.     The  key  is  E. 


The  signature  is 


The  meter  is  ?.     Te,  or  flat  seven,  is  produced  by  placing  a  ton 


the  staff  degree  which  stands  for  Ti,  or  seven  of  the  scale,  thus  :   py(™|JLQgi  The  natural 


Te. 


thus  removes  the  effect  of  the  %  in  the  signature.     Ri  or  sharp  two  is  indicated  by  the  double 
sharp  x  as  this  staff  degree  already  bears  a  sharp  in  the  key  signature. 


F^Mta 


<§* 


4 


x# 


U 


Pipilii^isliH 


B» 


B|^g^=3^ 


.—(,*- 


ffegife^i 


J&1 


-' 


&— 


tt: 


II 


Kar    Fourth   Raider. 


96 


Intervals  (Perfect  and  Diminished  Fifths  ) , 

Compare  Do,  Sol,  with  Ti,  Fa,  ( see  chart  G,  page  21 ). 
1 


Compare  similarly  each  fifth  of  the  scale  with  Do,  Sol.  But  one  diminished  fifth  will  be 
found.  Its  effect  is  so  marked  as  to  be  unmistakable.  Note  the  tendency  of  the  voice  to  fall 
back  on  to  Mi  ( Ti,  Fa,  Mi ).  Sing  the  interval  in  the  opposite  order  and  note  the  tendency  of 
the  voice  to  move  from  Ti  to  Do,  (  Fa,  Ti,  Do  ).  This  tendency  of  the  melody  to  progress  in 
certain  directions  must  be  regarded  in  original  writing.  When  melodies  conform  well  to  these 
leadings,  as  they  are  called,  the  effect  is  very  satisfactory  to  the  trained  ear.  Sing  to  the  pupils 
repeatedly  until  the  effect  is  entirely  familiar  and  can  be  quickly  named. 

1  2  3  (  Two  voices.) 

*> 


S|ti#pi 


The  effect  of  close  or  ending  produced  by  such  combinations  of  tones  as  the  above  is  called 
cadaence. 

Variations  in  the  minor  scale  are  made  by  means  of  accidentals,  and  major  scales  may  be 
modified  by  accidentals  so  that  while  Do  continues  to  be  the  key  tone,  the  effect  of  the  minor 
scale  is  perfectly  evident. 


Rhythmic  Study. 


Ch.  Ser  G,  page  15. 


Ex.  137. 


■ — 1- 


EifM; 


~(S=ZM 


*st 


1:22=5=: 


Ex.  138. 


ign^s 


I 


8=» 


-4—*^* 


zt 


m 


m 


d_ J ft=4 


igppiigiigSS 


Taking  the  scale  beginning  on  C,  and  considering  C  to  be  Do,  descend  to  La,  and  taking 
that  for  the  first  note  of  the  scale,  sing  to  La,  and  note  the  effect. 


m 


m 


^s>  a  g=gE 


Z£2—S>Z 


-**-*=■ 


■a-cr 


&1=L 


:=>-«*- 


~i"P    c~ 


■■g-p- 


The  difference  in  these  scales  is  due  to  the  arrangement  of  the  minor  seconds  in  them. 
The  second  or  La  scale  is  called  minor.  Whenever  the  position  of  the  minor  seconds  of  a  scale 
is  changed,  the  effect  is  felt  at  once;  and  we  usually  recognize  the  change  as  being  from  major 
to  minor,  or  minor  to  major,  as  the  case  may  be. 

Har.   Fourth   Reader. 


97 


WANDERING. 

(Rhythmic  Study.) 


Joyfully. 


Franz  Schubert  (1797-1828). 


§i=£=§^^^^i^^^i^ 


To         wan   -   der  is  the  mill     -     er's  joy,        To 

a  little  louder. 


softly. 


:fc 


-*-*-      J     *- 


*     f 


:f=*=J: 


der,     to         wan     -     der.         He  must       a      wretch-ed 


fe=g=P^f^— » q^Mh£ — * 


:fe — *-«-*=^=^==^Hk 


-* *- 


^^^^jEE£ 


mill  -  er        be,      Who    nev  -   er    cares    the        world  to       see,    To 

sq/%. 


-0- m 0 — -+- 


:^^=B 


^t 


wan  -  der,      to  wan  -  der,      to      wan  -   der,      to  wan  -  der. 


Ex.  139. 


=a=t 


^33^ 


=4-      1    i 


-* % * =1- 


r^trr^f-   e£tt— 5 


* si * =1- 


• 


^F^F 


3^* 


vfe- 


R 


^         ^   -^  ulj  r   fr     r- 


i 


II 


=t 


M 


ssi*"    =?: 


Har.   Fourth   Reader. 


98 


Vocal  Drill. 


UgJzJlJ^JJijJI 


Ch.  Ser.  G,  pages  11  and  17. 
Ex.  140. 


Dl,      rl,     me,    ra. 


Antonio  Caldaba. 


^ 


£f=£ 


t= 


E33^i 


2SZZZI 


tJN 


t=*3 


3=£M=r- 


=&=t 


gffi 


*    m    0 


Ambhozio  Minoja. 


^■fe^S^l 


^ 


=t 


=F-*-^ E 


jpjY—r-^^^ 


-* — -- 


1 


^-o- 


«— e>" 


II 
II 


■c- 


# 


i=4 


it* 


^g=^f--^| 


-*-« 


Hpi 


-js^- 


E2 


-e>- 


** 


m 


We  found  that  in  the  normal  minor  scale  a  minor  second  occurs  between  two  and  three 
and  between  five  and  six  (counting  La  as  one  of  this  scale).     This  arrangement  of  minor' 
seconds  is  varied  frequently,  and  another  minor  second  produced.     Thus  the  seventh  tone  of 
this  scale  is  frequently  indicated  by  an  accidental  so  that  a  third  minor  second  occurs  between 
seven  and  eight. 

Employing  this  tone  increases  still  more  the  interval  between  Fa  and  the  next  tone  above. 
This  interval  was  already  a  major  second.  Now  it  is  more  than  that.  It  is  called  an  aug- 
mented second.  This  form  of  the  scale  is  called  the  Harmonic  Minor.  It  contains  three 
minor  seconds. 


n 


f 


3^ 


Har.   Fourth  Readti 


99 


Study  in  Harmony. 


Ch.  Ser.  G,  page  13. 
Ex.  144. 

,-tt 


&=*: 


"^r>" 


3Ea3=g=i 


L£- 


u 


» 


&^=|= 


^-^^^ 


-4  -=*•■*-  ■*• 


vTl 


Ex.  145. 


i 


feSaai 


m 


-*—+- 


J=r^J       '      J_i_J 


II 

I! 


-*— <g- 


r 


7*=?       |q 


i 


^.,l  *  '  <g c*- 


Ex.  146. 


3=j=i= 


=t=t 


^ — ^- 


i«=*^^ 


-J: 


mH^&'t\t&fWtsf^ 


a=B^==gg^ZS3^^d=faJ 


Another  variation  in  the  minor  scale  is  made  hy  removing  the  minor  second  between  Ave 
and  six,  and  at  the  same  time  destroying  the  augmented  second.    The  new  tone  is  Fi. 

Mar.  Fourth  Reader. 


100 


HEAVENLY  FATHER,  HEAR  OUR  CRY. 


Andante.  ,  p 


vnaame.  ,  jj 

a>iiJ   i  + 


^-i- 


S2 


4 


r,  r  r  p  i  .  -r^ 


1.  Heav'n-ly    Fa  -  ther,  hear     our  cry         As      we  bow       be -fore       Thee; 

2.  Keep  us  through  the  com  -  ing  day       With     its  work     and  pleas  -  ure, 


ate 


! 


.w. .m -j- 


J- 1- 


W 


# 


3=5: 


mf 


=t 


d2==-*=i=d 


I    J  K 


-=5- 


sfe* 


.U^J'        J. 


F 


Thou  didst  bid  Thy  chil  -  dren  come,     And     we  would  a 
May  we  learn    to  love  Thee  more,    And  Thy  word  to 


-    dore      Thee, 
treas    -    ure. 


<§ 


fe* 


5 


s> 


=t 


5 


3=3 


^=^=* 


**- 


/j.    J*  J    i  »J-  Z>j  i  j.  >  J  J 

— r — £-| — i— cr — E  r-r  f  g  f    » 


z==^= 


r 

Through    the  watches     of        the  night    Thou   didst  guard  and     keep        us, 


=Jfc=t 


^^P^. 


■w- 


-*— d — :gf 


<    * 


i  ces.  ,        i      I 

- — i    '•  T  i— ^rT-r 


cfo'm. 


Xow  we  sing  our  morning  hymn,  So  loud  and  clear,  O    Fa-ther,lend  Thine  ear. 
rg-b"   did     d       I       J 


=± 


t^t-^- 


d- 


3=*! 


H — 5==::F — ' t 


f: 


I! 


Har.  Fourth  Rtadtr 


101 


Vocal  Drill. 

To  be  sung  from  different  -pitches. 


Ch.  Ser.  G,  page  14. 
Ex.  147. 


^m^Tfffr^  r  rrir  j  r_gg 


Ex.  148. 


»£ 


^^S!Hp^lpiS^rf3 


i-j^r» I I 


:^zzjfc 


gl^^^I 


Ex.  149. 


ffiBE 


=R 


^ 


farjr  jju  J=g^g 


3E^ 


a 


63ESfc* 


^g 


Ex.  150 


^pg^^^^pg^l 


The  effect  of  the  melodic  minor  scale,   page  102,  can  be  easily  produced  by  a  slight 

change  in  the  major.     Thus,  if   we   consider  the   note  which  is  La  of  the  key   of   C   to 

r-pi4-  n 

be  Do,  we  have  the  key  of  A.   .  -|p  p_ ^zegn      By  using  a  lower  third  tone 


we  have    precisely    what    was    represented    before    without    any    key    signature.      Thus : 


k* 


Both  representations  should  be  familiar  to  the  pupil. 

Har.  Fourth   R«ader. 


J    gives  the  same  effect  as  :ffi  —  ■      _    ^^^ 


102 


Ch.  Ser.  G,  page  13. 
Ex.  151. 


Study  in  Harmony. 


item&= 


T&- 


:£=T 


lie 


m 


& 


--i=* 


m 


1^^E=£ 


-pa. 


*2 


^Pl 


;*— J- 


^? —  — i~0!zzaL 


-m—j- 


w 


m 


Ex.  152. 

fen 


^fe^^^^El 


gggEjg 


-*— »- 


^HH^^t^^ 


Ex.  153. 


lN 


:* — X- 


3fc31! 


:;;*- 


|i^^^|-=^^S^^^P 


I 


^szjfe 


This  scale  is  called  the  melodic  minor. 

It  will  be  noticed  that  the  sharps  are  not  used  in  the  descending  scale ;  so  that  the  melodic 
minor  scale  is  really  a  combination  of  two  scales. 

The  method  for  teaching  this  scale  is  fully  illustrated  elsewhere. 

Har.  Fourth  Reader 


103 


THE   DEWDROPS   GLEAM. 


John  Guard. 

Vivace  e  legyiero. 


Felix  Mendelssohn. 


fe^ 


a=*- 


£=££ 


^ 


1.  The   dew-drops  gleam     In    aum-nier's  gay  beam ;  A   pearl   -   y  show'r,    On 

2.  O   come    with     me  Where    la  -  bors  the    bee,  And  banks      of  bloom    The 


-ir-n 


}t=±==fa=d 


*=* 


* 


=£=% 


> 


^5=£ 


greensward  and  flow'r.     Soft     zeph  -  yrs     rove  Thro'  thick  -  et     and  grove,  Thro' 
breez  -  es     per-fume.  There,     by      the  spring,  A  -  while  will  we     sing;     A  - 


£= 


-*-+ 


^ 


S 


rit. 


=*C 


a  tempo. 


~ 


:—*- 


*■= 


thick  -  et      and  grove,  Thro'  thick  -  et      and  grove.       In  sun    -     -    shine 

while  will     we    sing,        A  -  while   will    Ave     sing.       The         slum  -  ber  -  ing 


3&fc=t 


=f£ 


=* 


-*-F 


bright,       a      joy    -  ous  throng        Fill       all    . 
grove     and  rock    -   y     height       Shall      hear 


J0 !!'. 


i 


3 


^ 


0  ~* 


A 


the       air     wifli    joe    -  "und 
our      cho  -  rus      of  de  - 


Vivace  e  leggiero.  quickly  and  delicately  ;  rit.,  ritardando,  retarding  the  tempo  gradually  ; 
a  tempo,  in  the  original  speed,  as  in  the  beginning. 


Har.   Fourth   Reader. 


104 


Chords. 


/ 


^m 


t 


* 


p 


t= 


=t= 


> 


r 


In       sun 


lisrht. 


shine  bright    a      joy  -  ous  throng  Fill     all       the 


=1* 


=1 


*= 


Fill 


./' 


£=E^ 


yqc 


E 


-*-F 


1 t*- 


t= 


air  .   .  with    joe  -         -   und    song,       In      sun    -    shine  bright    a     joy  -  ous 


4 


=\ 


5=*^: 


£=P 


^P 


all .    .    .  the   air      with  joe  -  uud      song, 


fr=F 


3=F 


rt—J- 


throng  Fill     all       the       air 


Avith         joe 


und 


=^^^p^^ 


-*— *- 


Fill      all       the        air  .    .  with 


joe 


und 


/> 


m 


t=: 


t=fc 


r1 


SI 


song,        Fill      all 

i  P  > 


the    air 


with    joe 


und     song. 


*=i 


*- +- 


' 


II 


=p: 


song,  Fill 


all       the 


air      with 


joe    -  und  song. 

Har.   Fourth   Reader 


105 


Ch.  Ser.  G,  page  9. 
Ex.  154 


Study  in  Harmony. 


fe 


-1-1 — gfei 


•9-         -9-  -9-~ 


II 


Ex.  155. 


SEE 


5E 


4=* 


f-1^r-^^±f^^r=^t!^F=rf 


^^ 


&ffl 


e 


-  I    i    h 


3 


^=T= 


-*- 


^S* 


-^--a-^l-l-S, #> 


zt^t^-L^ — Lc 


Ex.  156. 


&s^ 


•-*■  -9-         n+   -*r  9  -=■. 


H 


Ex.  157. 

^    ' — F-^rJ:(=-t^s=|== — t-3- — t ^T^i    " 


55^ 


gm^ip 


ICfc 


•■Ur.   Fourth   Reader. 


106 


PRAISE  THE  LORD. 


W.  Verb  Mingabd. 

mf  Andante.  ■ 
± 


F.  W.  Farrington. 


?±BEJ 


r 


r= 


"d: 


r 


£=i 


Him! 


||  I          I        I        V    '        '       I         1                            • 

1.  Praise  the  Lord     for    all    His   lov-ing-kind-ness,  Praise  Him,  O  praise 

2.  Praise  the  Lord!  the    ev  -  er  -  ten-der  Shepherd,  Praise  Him,  O   chil-dren, 

3.  Praise  the  Lord!    O  praise  Him.all  ye    na-tions,  Praise  Him,  ye  peo  -  pie! 


±E: 


s 


5 


X 


o 


3F 


=1=1 


dim. 


mf 


i 


cres. 


Jx^ 


£=3: 


T^fT 


r?- 


-*=Z3SL 


-&- 


-f*- 


m 

>*—^ 


i 


rte: 


r~  r~r~z 

Praise  the  heav'n-born  King !  Fields, in  your  glo  -  ry,     Tell    out  the    sto  -  ry, 

for    His  watch-ful  care.      He    gen-tly  leads  you,     He      ev  -  er  feeds  you, 

.  Praise  the  Prince  of  Peace !    Bow  down  be  -  fore  Him,  Come  and    a  -  dore  Him, 

ft: 


e 


3 


i  i^i   Jt  V -     U^Tfel* 


cres. 


SU: 


J. 


mf 


-&r     -&■ 


Kt 


3£ 


d=f 


±±E^i 


=££ 


f=rf 


o- 


r 


l^3?^^^ 


i 


Earth     is    the  Lord's,  He    giv  -  eth     all. 
He  shields  His  loved  ones    in     His  arms. 
His  strength  a  -  lone    can  keep  you     all. 


r 

Then  sing  of  His  might-y  love, 

Then  sing  of  His  might-y  love, 

Then  sing  of  His  might-y  love, 


■spP3 


£=+=£ 


-<s>- 


T* 


f 


TZ? 


dim 


^? 


'*=&& 


B 


-fc-g?     3 


Sing    of  His  might-y  love,  Sing    of   His  might-y   love,   Praise  the  Lord. 


^^m^mm^=3=^^m§ 


f° 


f-0^ 


rrrrr 


Har.  Fourth  Reader 


Dictation  ( Oral  Review  ). 


107 


The  pupils  should  not  only  give  the  names  of  the  tones,  but  state  whether  the  effect  is 
major  or  minor,  and  name  any  interval  which  the  teacher  calls  for;  thus,  in  the  first  exam- 
ple the  pupils  should  say  not  only  "  Do,  Ti,  Do,"  but  also,  "  Minor  second  down  and  up." 

1  2  3  4  5 


II 


II 


II 


II 


fe 


II 


II 


II 


^ 


Written  Dictation. 

If  we  wish  to  represent  a  higher  pitch  by  a  staff  degree  that  bears  a  flat,  the  natural 
would  be  used,  because  it  removes  the  effect  of  the  flat  and  causes  the  degree  to  represent  its 
natural  or  usual  pitch  ;  but  if  we  wish  to  represent  a  lower  pitch  by  a  staff  degree  that  already 
bears  a  flat,  we  use  another  flat.     This  sign  is  called  the  double  flat  (  bb ). 

The  following  exercises  are  intended  to  illustrate  this  principle.      The  key  is  F.      The 


signature  is 


The  meter  is  ?. 


What  must  each  measure  contain  in  9  meter?   The  9 


on  Fa  removes  the  effect  of  the  flat  (b)  in  the  signature,  and  produces  Fi. 


Intervals    (the  Remaining  Intervals). 

The  interval  of  the  sixth  with  chromatic  modification  is  shown  on  Chart  Ser.  G,  page  22. 
The  third  and  sixth  occur  so  frequently  in  two  part  exercises  and  songs  that  the  children 
become  very  familiar  with  the  effect  produced  on  the  ear,  and  it  is  only  necessary  to  direct  their 
attention  to  the  matter  to  secure  the  result  we  desire. 

Let  two  pupils  sing  very  slowly  and  distinctly  such  an  exercise  as  the  following. 

( 1 )  Call  upon  the  pupils  to  name  each  interval  as  it  occurs. 

( 2  )  Sing  the  melody  alone,  and  require  the  pupils  to  write  it.  When  it  is  correctly 
written, 

(  3 )  Sing  as  a  duet  again,  and  add  the  lower  part  —  naming  the  interval. 

( 4 )  Select  similar  exercises  from  the  book  and  continue  the  practice. 

i  o 

J- 


$ 


J 


f=cr=r 


I L  r2 & — L|__ 

II  I  I 


r— M 


■II 


Unison, third, sixth, fifth, third.  Unison,  third, third, sixth, third. third,  unison. 

After  the  interval  is  named,  state  whether  it  is  major  or  minor,  and  compare  it  with  the 
models  previously  given. 

H»r.  Fourth   Reidtr. 


108 


Vocal  Drill. 


j^^fc 


Ch.  Ser.  G,  page  17. 
Ex.  158. 


2 


£ 


t=T 


3.= 


3^^gQ^=g^  ij^'ijBagrapi 


Ex.  159. 


§^^ll*feS 


£* 


0 


Ex.  160. 


lS^p.gis£p 


Note.  The  arrangement  of  minor  seconds  on  the  plain  staff  is  shown  as  in  (a)  below  ; 
and  if  Do  be  on  C  these  minor  seconds  are  in  the  right  place.  But  if  Do  be  placed  on  G,  for 
instance,  we  find  that  one  of  the  minor  seconds  is  out  of  place,  as  in  ( b )  below.  That  is,  it  oc- 
curs between  six  and  seven  instead  of  between  seven  and  eight.  A  sharp  is  therefore  placed  in 
the  key  signature,  upon  seven  of  this  scale,  or  upon  the  staff  degree  lettered  F.  This  sharp  shows 
that  that  staff  degree  no  longer  represents  its  natural  pitch  but  that  it  represents  a  pitch  higher 
than  before.  This  removes  the  minor  second  between  six  and  seven,  and  at  the  same  time 
makes  one  between  seven  and  eight,  thus  giving  a  correct  major  scale  beginning  on  G. 
»  „.<»>  _     « 


II 


Do,   re,  mi,  fa,     sol,  la,    ti,  do. 

All  major  scales  beginning  on  G  will  have  the  F  sharped,  and  if  the  music  is  written  on 
this  scale  the  sharp  will  be  placed  as  a  key  signature. 

When,  therefore,  one  sharp  appears  in  the  key  signature  we  expect  to  find  the  scale  begin- 
ning on  G. 

A  careful  study  of  scales  beginning  on  different  staff  degrees  will  show  how  many  and 
what  characters  must  be  used  in  any  key  signature. 

Har,  Fourth  Reader 


Study  in  Rhythm. 


109 


Ex.  162. 


^  jM\nrn^rn-^M 


i — i — i  — r — i — ■ 


3pIii|pBlS 


Ex.  163. 


jM?u  j  j  Ji^p^cr  JPJ*rP^P^ 


£ 


Wm^ 


=t 


s± 


x 


^ 


<^ 


; 


+±*-&- 


^    F 


d== 


P 


«= 


II 


— d: 


-1—-J- 


i=t 


3=3=^ 


«U*  *'-^ 


It  sometimes  occurs  that  in  order  to  bring  the  minor  seconds  in  the  right  places  the  staff 
degrees  must  be  made  to  represent  a  lower  than  their  natural  pitch.  This  gives  rise  to  the  use 
of  flats  in  the  key  signatures. 

If  we  begin  the  scale  on  F,  first  space,   we  find  that  the  minor  seconds  come  thus: 


The  first  one  is  between  four  and  five,  instead  of  being 


between  three  and  four.  By  making  the  third  line  of  the  staff  represent  a  lower  pitch  we  bring 
the  minor  second  between  three  and  four,  and  at  the  same  time  produce  a  major  second 
between  four  and  five.     This  restores  the  proper  succession  of  tones  for  the  major  scale.     The 

obange  is  shown  by  placing  a  flat  on  the  third  line,  thus  : 

Har.  Fourth  R»ader. 


■* 


=^? 


110 


THE   LITTLE    SCREECH   OWL. 


Quickly 


$^^$m^m 


Robebt  Schumann  (1810-1866). 


I 


0 


-G>- 


Ah         nie !  poor  tim  -  id    owl  -  et,      O    whith-er  shall  I       fly  ?  By 

2    woodlands  are    so  fragrant,  Then  off     on  down-y      wing  I'll 

3.  cry   forbodes  them   e  -  vil,     The    lit  -tie  children    say;  And 

4.  branch  is  sawn   a  -  sun-der     On   which  I     sat     a  -  lone,  Its 


» 


!f£=jZ. 


±=P 


=fc 


* 


:± 


m 


i. 


night  I    feel    so  lone  -  ly,      I     cannot  choose  but  cry. 
soar  in  -  to    the  for  -  est,  To  hear  the  sweet  birds  sing, 
so  from  out  the  woodlands  They'd  drive  me  fain  a-way. 
leaves  are  sere  and  yel-low,  The  night-in-gale    is  gone. 


My  cry,    it 
The  nightin  - 
I  would  not 
Now  tell  me, 


+-  1-  1r  +"  •**  * 


r 


/p 


H 1 1- 


hi"  r*j|J  j »  jij*r   iffi 


:*:t>i=i 


S 


yp,  forte  piano,  strong,  softly  ;    this  indicates  that  the  tone  is  to  be  taken  strong  at 
first,  then  diminished  in  power  to  piano. 

H»r.  Fourth  Rescfer. 


Ill 


n^ 


^B 


-*— -- 


f 


fP 


:gt= 


:*** 


J 


Z^ 


d 


sounds  so  wild  and  clear 
gale     to   me     is     dear; 
scare  them  with  my  cry ; 
is       it    not    too  bad? 

-i — r" 


The  children  hide  their  heads  for  fear.    Ah, 

I    love    her  note  so  sweet  and  clear.  Ah, 

They  need  not  think    it  gives  me  joy,     Ah, 

I've  noth-ing   now    to  make  me  glad.   Ah, 


g 


J 


:*=£* 


:£= 


S3 


fczsfc 


q 


L3r# 


/*> 


/A> 


-?=^^m 


i»  ; 


H 


*==^ 


#-» 


inm 


me !  poor  lit 
me !  poor  lit 
me !  poor  lit 
me !  poor  lit 


3=* 


3EB5 


tie  owl!  2.  The 

tie  owl!  3.  My 

tie  owl!  4.  The 
tie  owl ! 


§|  The  F  clef,  so  called  because  it  shows  the  place  of  F.     The  sign  is  a  modihed  Gothic  F. 
The  letters  on  the  F  clef  are  shown  here  : 


Q 


B        G 


H»r    Fourth  Reader. 


112 


A   SONG   OF   SUMMER. 


^ 


=t 


m 


' 


22: 


t 


Sum-mernow  un-  folds   to    view,  un  -   folds 


M^^S 


P=£=3=- 


:zz2i 


A     song     of         sum 


mer, 


Sum  -  mer     now     un  - 


r=*= 


* — ^- 


F=F=^ 


H* 


. 


-:[=: 


to  view,  un    -  folds to  view  Buds,  blooms, 


and 


. 


i=± 


-f» — I 1 


3t=* 


r- 


U 


:£=£: 


*z± 


m 


folds     to       view,  Sum-mernow      un- folds     to    view     Buds,  blooms,  and  flow'rs  in 


'. 


& 


FEgrJ-^F— EF *— y= 


=fc 


& 


flow'rs 


in     va  -  ried  col  -  ors  bright,    A  song  of        sum 


6 


B 


S3 


W=^ 


Zjf, — 0- 

col  -  ors       bright,  . 


in     col  -   ors  bright, 


Woods  and     fields   in 


sS 


I     J 


^^H*1 


mer, 


Woods      and  fields     in  ver  -   nal         hue, 


Zj= 


^ 


ver   -    nai 


-»r- 
hue, 


. 


=± 


nal  hue.  In 

Har.   Fourth   Reader. 


113 


^=*=^£ 


'■=F 


f 


3ee&&fj=& 


s 


Woods  and  fields    in         ver  -  nal       hue,  Sights  and     sounds .     . 


of 


<5 


* 


nal 


hue, 


Sights 


and 


P3=b 


* — * 


3 — ^-i*-f=p 


^: 


dear    de  -  light, 


Sights  of   dear  de  -  light.  . 


=t 


^t 


sounds,         Sights    and  sounds  of     dear     de  •    light, 


de    -    light. 


m 

F^=^ 

'  * 

»■ — 

^ 

A 

<s> 

1* 

»■ — 

P 

— * 1 

1 

IF— 

-t j 



|_ 

j 
o 

Sum  -  mer 

now       un  - 

folds 

to 

view 

Woods 

and 

fields 

in 

y 

1 

/:   b    - 

I 

1                      !                   J 

1            ' 

1?  V 

» 

»          # 

cJ 

• 

■P 

— ■• 

^       •* 



Sum  -  mer        now         un  •    folds        to         view 


Woods      and 


^=^= 


:feS3 


«= 


^21 


-£2- 


(=2 


r 


ver  -  nal   hue,  Sights 


and  sounds      of 


dear     de  -  light. 


^^s 


$- 


^fe^ 


^ — i^—tfc 


i    *  * 


fields     iit     ver  -  nal      hue.  Sights  and  sounds  of    dear    de  -  light,  of     dear        de  -  light. 

Har.   Fourth  Reader 


114 


Study  in  Rhythm. 
Vocal  Drill. 

Sing  also  in  F  major,  contrasting  the  minor  and  major  effects. 
fa 


gt^m^kf!^^^ 


Ch.  Ser.  G,  page  15. 
Ex.  164. 


M 


E4: 


^M^p^f^p^gsgpp^  ■ 


^^ppl^^P^&l^^B 


Ex.  165. 


mm 


"- 


T. —      I  r  i  j 


I 


J — rri 


*==*=* 


^^ 


* 


e 


«* 


ts— *- 


:ie=rr-n«: 


=i=g=^^^^ 


*  ^ 


=1=^3 

-d ltd 


V 


F=*: 


f=a 


^— i 


It  must  be  remembered  that  all  major  scales  contain  two  minor  seconds,  and  that  these 
occur  between  three  and  four  (Mi,  Fa)  and  seven  and  eight  (Ti,  Do).  We  should  also  remem- 
ber that  the  staff  degrees  represent  pitches  which  can  be  varied  only  by  accidentals  or  by  the 
key  signature. 

Har.    Fourth    Reader. 


Ex.  166. 


0=^ 


*E^E^. 


Study  in  Harmony* 

-*— « — * F« — — *- 


115 


- — h — =r 


jftts 


V&? 


^sfefea 


■4 £= 


I 


*&==: 


3=W-1 


=ra 


^ — ^ 


zSt± 


Ex.  167. 


gzEj 


1 


:4 


*       + 


-+ * X <=>        $=? 


-«v-* 


'H 


-=j. 


:j r 


-& *- 


V: 


w      X 


3 


3=*: 


-c*- 


d 


^— :i«zzEfr= 


=t 


Le>— 


II 


;v= 


i   I   I  =t 


J     J    Ij    J   3E^EJg=^H 


H«r.  Fourth  R«ader. 


116 


Study  in  Rhythm. 


Ch.  Ser.  G,  page  13. 
Ex.  168. 


m$^0^M^m4 


±=r 


^ 


w^&^=^ 


- 


.j  J3  I  J~3~.i-^g3- 


f1   !  gg^g#fl  jfgl^-J 


^pg.  *  J7nfr~3~i 


Ex.  169. 


SSEf 


3=5 


3=*=l 


te3E3 


^ 


-* — * — !>* — *— 1~^r 


J2_fei: 


s 


.Mf^T  EF3^Et!Ff 


II 


_i> 


■3- 


Har.  Fourth  Reader. 


117 


AUGUST. 


Celia  Thaxter 
Allegretto. 


Clo  -  ver 
Each    crick 


ft 


dai    -    sy       went     off 
chirps     like         a       rare 


to  -  geth 
good     fel 


& 


-  er, 
low, 


1         1 
But  the 

And   the 


=£: 


s 


_^ m ^ 


=Jt 


I*- 


=*: 


i$=^^E= 


£=± 


f 


"•' 


fra 

as 


grant 
ters 


wa 
twin 


ter 

kle 


lil 
clus 


ies 
tered 


lie 
bright, 


Yet 
While 


3E 


1K 


*£ 


H 


=^===fc 


=fc 


*fe 


the 
corn         fast       grows 


moored 


• 
in 


gold 
ripe 


en 

and 


Au 
ap 


gust     weath 
pies       mel 


er. 
low. 


F^j^^^fe  e^eeB 


Har.  Fourth  Reader. 


118 


BATTLE   PRAYER. 


F.  H.  HiMMEL  (1765-1814). 


1.  Fa  -  ther,      I       call       on     Thee !     Round     me     the  smoke     of 

2.  Fa  -   ther,      O      lead     Thou    me !  Be     Thou    my  guide, wheth 

3.  God,       I         ac  -  kn  owl  -  edge  Thee!  In       the     low  voice      of 


the 
•er 
the 


Hi 


^ 


W- 


=te 


f^Sll 


u 


£ 


p 


*  L>   1* 


Sfc 


r=F=9-r-£ 


•a^M^ 


^ 


bat  -  tie  is  glooming,  O'er  me  the  roll  of  the  can  -  non  is  boom-ing, 
vie  -  tor  or  dy  -  ing,  O  -  ver  me  still  let  Thy  ban  -  ner  be  fly  -  ing, 
night  wind    I  hear  Thee,  In     the  wildtem-pest  of     bat -tie  Thou'rtnear  me, 


£=fc 


W^ 


£±3=*=* 


3=^=^ 


-*-^L-^L- 


-#■7-*—* 


i 


2 


P 


=*=t 


W- 


t\  t  I 


*±M 


^ 


=PE 


iiH 


Cap  -  tain    of    Bat  -  ties, 
Lord,  where  Thou  will-est, 
Foun-tain     of  grace,   I 


7^  r  ^  r  c 

I     call      on  Thee,     Fa  -  ther,  O  lead   Thou   me ! 
O     lead  Thou  me,    God,      I       ac-knowl-edgeThee ! 
ac-knowl-edge  Thee,    Fa  -  ther,  O  bless  Thou   me  ! 


-w- 


*    -0.     -v.-  -0-    -0..  -+      —f.^..--. 


5=f 


^ 


I 


■*-.  -*•    *»*^.  -=± 


Lento,  slow. 

In  the  representation  of  intervals  upon  the  staff  the  name  of  the  interval  corresponds  to 
the  number  of  staff  degrees  embraced  by  the  notes,  counting  the  degrees  upon  which  the  notes 
are  placed.  Thus  from  Do  to  Mi  is  a  third,  and  Mi  is  represented  on  the  third  staff  degree 
from  Do.     Or  if  we  consider  the  notes  in  reverse  order,  Do  is  on  the  third  staff  degree  from  Mi. 

Har.   Fourth   Reader. 


Dictation  (Oral.  Review). 

Pupils  name  the  tones  and  also  all  intervals  called  for. 


119 


--$^=* 


II 


Written  Dictation  ;  Review  of  Seconds. 
(Analysis  of  the  Scale.) 


'i 


W — &  -g,-  *   e^sr-&-^-p. 


^=^=^=^|g: 


II 


If  we  examine  this  exercise  carefully,  and  sing  it  many  times,  we  learn  that  no  chromatic 
tone  can  be  placed  between  Mi  and  Fa  or  between  Ti  and  Do,  but  that  such  tones  may  occur 
between  all  of  the  other  tones. 

This  teaches  us  that  while  the  seconds  of  the  scale  all  look  alike  upon  the  staff,  in  reality 
two  of  them  differ  from  the  rest,  in  sound. 


£_ 


o 


II 


These  smaller  seconds  are  called  Minor  Seconds.     (Minor  means  smaller.)     The  other 
seconds  are  called  Major  Seconds.     (Major  means  larger.) 

We  see  that  each  major  second  may  be  divided  ;  that  is,  it  admits  a  tone  not  so  high  as  one 

and  higher  than  the  other  of  the  two  tones  that  constitute  it 

tween  Sol  and  Fa  comes  Fi. 

and  Do,  Ti 


F4=?- 


Th  us  be- 


But  Sol,  Fi 


sound  alike,  and  as  Do,  Ti  is  a 


minor  second,  so  Sol,  Fi  must  be. 

The  following  dictation  exercises  are  intended  to  illustrate  major  and  minor  seconds.     The 


key  is  C.        The  signature  is 


The  meter  is  ?. 
4- 


i^ipr^feip^y 


Give  similar  exercises  from  different  scaje  degrees.     Note  the  difference  in  representation 
when  ascending  by  minor  seconds  and  when  descending  by  the  same  intervals. 

Triads. 

Sing  each  triad  in  the  following  exercise.     Note  what  a  triad  is,  and  discover  to  the  pupils 
by  actual  ear  test  that  there  are  three  varieties  of  triads  possible  in  the  scale. 
Unison. 
1  2  3  4 


Htr.  Fourth  Reader 


! 


i^iliSip^i 


SI 


120 


Study  of  Rhythm. 

Vocal  Drill. 

a      i    lij. 


Ch.  Ser.  G,  page  9 
Ex   170. 


B^J5^*iT^«rJJi5*«3E5J=|i=|l 

^  Be.dl,      rl,      me,     ra. 


te 


er 


^=^-r^r 


» 


^^fe^sl 


Ex  171. 


nnm^^g 


g 


Ex.  172. 


0 


■X-^21 


^^^ 


a 


^> 


rShzjfd 


1*=0 


*Zj&Z 


g 


^ 


*=  ^ — J 


!B 


2 


Ex.  173. 


m^=$ 


1      1    *- 


c* * — ^r 


-c* *- 


i 


s=s 


II 


w 


*    P 


Two  notes  occupying  the  same  staff  degree  are  said  to  represent  a  prime,  though  in  reality 
there  is  no  interval. 

We  have  already  studied  seconds,  and  we  found  that  they  are  of  two  kinds, —  major  and 
minor, —  and  that  the  diatonic  major  scale  contains  five  major  and  two  minor  seconds.  By  a 
careful  study  of  Chart  Series  G,  page  18,  the  difference  in  effect  between  major  and  minor 
seconds  can  be  clearly  established. 

Hv»  Fourth  Reader 


Study  in  Chromatic  Alterations. 


121 


Ch.  Ser.  G,  page  11,  Ex.  3. 
Ex.  174. 


Ex.  175. 


*g|^g 


B3 


Z2±«: 


Sfe2 


bfct 


-*— g 


2^  *: 


Mi, 
Ex.  176. 


Do,     se,  le, 
Ex.  177. 


le. 


i 


3==: 


QZtzTEP^^ 


-e* — ^L 


£ 


^=d= 


?#=£ 


Mi, 


Do,      ra, 


"iJO- 
ra, 


i 


i 


Ex.  178. 


E-j        4=3 


e 


T=t 


zfeatzq 


ite^zz*: 


II 


H 


i?o- 


W3^ 


Ex.  179. 


2    » 


llf^^gz^^S^J^^f^-^ 


=tq 


s 


s  =r 


3^ 


P" 


*A 


^ 


^-^-3=LU=j^fl 


fejj^i 


^z? 


3^ 


SI 


Har.   Fourth  Readar. 


122 


Ex.  180. 


£&- 


S 


Study  in  Harmony. 


^=S 


? 


i 


=± 


r=fa 


3 


e 


HE 


:=L 


!:d2:S=E2: 


± 


* 


=t= 


s-i? 


-<S>-v 


32: 


^Si 


.-A 


F 


^M 


-c? 


&E 


b^=; 


tfe=: 


r  r 


±==± 


^>^^.-^=L^ 


^3" 


p 


s 


Ex.  181. 


*5 


=t 


3 


3=g 


±e* 


Si 


S 


_1_         u^_C 


r 


«*  f"  %r~    f 


kdz=*± 


r 


r 


=t 


IS 


52: 


3 


3t=Z* 


Ex.  182. 


?^=Iei^^^3 


^ 


Isy 


t— i 


P^E^: 


-T-*: 


3^E 


T^ P" 


±= 


I 


&"■#: 


I 


iEEES 


=t=t 


ft- 


^ 


Seconds  continued.  —  We  find,  however,  that  a  major  second  may  become  augmented  by 
raising  or  lowering  the  pitches  of  one  or  both  of  the  staff  degrees  which  represent  it.  Thus 
Sol,  Fa  represents  a  major  second  ;  but  if  Sol  be  raised,  as  shown  below,  we  have  an  augmented 
second.  This  is  the  characteristic  interval  of  the  harmonic  minor  scale  and  is  considered  on 
pages  11  and  18  of  Chart  Series  G. 


3^ 


:*P_ 


H*r.  Fourth 


123 


i 


Caroline  B.  Southey. 
Allegretto. 


LADYBIRD. 


ta 


f 


1 


*=£ 


1.  La 

2.  La 


I 


dy  -     bird, 
dy   -     bird, 


La 
La 


dy     -     bird ! 
dy     -     bird ! 


fly 


9 

0- 


f 


a    -    way 
a    -   way 


Ki 


2 


i 


s 


c 


iome ! 
home! 


ier 


V 


i 


-> 


To        your  house 
The     .     .        fair 


in  the 

y  bells 


old 
tin 


wil 
kle 


low 


:5=nr=^rtIs^ 


r 


t^r 


tree,  the     wil  -low      tree,  Where  your  chil  -  dren     so        dear  have      in  - 
far!   tin   -  kle        a    -    far!      Make         haste       or  they'll     catch  you    and 


6 


rfe 


£> 


— ' 


E?=*= 


^ 


.^_^_ 


^^ 


r^Tr  rT"5  r-5  f 


vit  -  ed    the     ant     And     a       few    co  -   sy  neigh-bors    to     tea. 
har- ness  you    fast  With   a       cob-web     to      Ob  -   er  -  orfs  car. 


t 


II 


^riw^ 


-frj 


H»r.   Fourth   Reader. 


124 


Study  of  Chromatics. 

Vocal  Drill. 


q&-±t*=2^&t3^£=Bi— 


Ch.  Ser.  G,  pages  4  and  17. 
Ex.  183. 


m 


-~ — *—t 


—  r  f  ,  r^bfej 


K=^ 


F=t 


d=tezi==q 


<g    d 


^E=^- 


^F 


I! 
!! 


Ex.  184. 


--#; 


H 


4 


Ex.  185. 


— h-H  I  !    q 

; — J-ii— I « 1 


g^ 


4u-ta-f=4 


sggg^Jig^ 


*=5^ 


¥=*=$ 


^=«t 


*=i 


S 


J,  ]*  I  —  zzt 


±:i 


+-+■ 


m 


m 


Ex.  186. 


=± 


W     J    J    /t^E^J-jW-^ 


:5f 


4=*: 


l*=Jt 


^ 


=« 


&■ 


SEEEEE5! 


^ 


• 

E 


:"S 


3==1: 


:s2: 


1 


The  diatonic  scale,  as  we  have  already  learned,  presents  two  kinds  of  thirds,  the  major  and 
the  minor.  If,  however,  one  of  these  tones  composing  a  minor  third  should  be  brought  still 
nearer  the  other  by  an  accidental,  we  have  a  still  smaller  third,  known  as  a  diminished  third. 

The  diminished  third  will  evidently  occur  in  those  places  only  in  the  scale  where  the  minor 
thirds  regularly  exist.     Re,  Fa;  Mi,  Sol;  La,  Do;  and  Ti,  Re,  represent  the  minor  thirds. 


P 


Diminished  thirds,  therefore,  are  most  likely  to  be  represented  thus:  — 


-fw 


^ 


-Jj=!2=2 


Har.  Fouith  Readti 


125 


THE   KINDLY   STARS   ARE   PEEPING. 


Thoughtfully 
PP 


tf—J 

■■      r* 

r00*\     ^ 

%— 

=    |t — . 

m9 — F 

: 

=s^  4 

"J 

-*1- 

-£- 

=£= 

=3— 

—J— 

— | i- 

t 

W— r — 

smil  - 
plaint  • 
on 
fore 

o 

-y 

ing 
ive 
our 
the 

eyes        of 
night  -  in    - 
way       we 
con  -  qu'ring 

-    1 
1 

gold: 
gale 

roam ; 
day; 

^ 

— 0- — 
• 
And 
Her 
But 
The 

night 

wealth 

love 

orb 

o'er 

of 

will 

of 

earth 
song 
soon 
light 

b-1 

is 
now 

dis  - 
shall 

y . 

(feb— i 

-£• 

~d sr 

1 — 

— Si— 

-*- 

Is 

t , r- 1 

v/          9 

•    ■ 

-m- 

-P 

-m- 

— \ 

•m- 

_T 

J 

4-: — J 

of        home, 
a     -    way. 


ppS 


^^ 


I 


Har.  Fourth  Reader.. 


126 


Ex.  187. 


t£#=3 


Study  in  Harmony. 


i 


i 


i 


I 


£=*=*— 


p4 


-e^-5- 


rr-r^ 


^ 


tI7^2 


!==!= 


^ 


^T 


-&>- 


Ex.  188. 


*^=? 


^=J=jz=^ 


r=4=*r=^ 


S# 


"r 


r 


-S*-*- 


r" 


II 


►=4: 


Ex   189 


^J    -  |- 


S 


S 


d 


.^=F 


B 


js — ^r 


SS 


'MID   THIS   EVENING'S   SPLENDOR. 

_! *_>     * 


£*=± 


M=£ 


1.  'Mid  this     eve-ning's  qui  -  et     splen  -  dor,  Lord,  to     Thee   my  thanks   I 

2.  Fa -ther,  gen-'rous  was  Thy    giv  -  ing,  Peace  of      spir  -  it,     joy       in 

3.  Have   I,     from    my     du  -  ty     stray  -ing.Erred, Thy    pre-ceptsdis   -    o 


ssaa 


5E^ES 


=t 


*=3* 


* 


S=3: 


^ 


— I 


Har.  Fourth  Reader. 


$=* 


m=± 


T 


£&£ 


127 

d*      0     i 


r— r 


ren  -  der, 
liv  -  ing, 
bey  -  ing, 


x      •      x  ' 

With        a  love     sin- cere  and  strong,  With    a 

Firm        re    -  solve  my  task     to    do,    Firm      re 
Lord,       for   -  give    the  fault    to  -  day,  Lord,   for 


S 


^S 


te» 


JI 


With  a  love 
Firm  re  -  solve 
Lord,    for  -  give 


sin      -      cere 
my  task 

the  fault 


and         strong, 
to  do, 

to      -       day, 


■*> 


n§ 


feS 


-3Z21 


I™/ 


^^ 


£ 


dfc2: 


r 


«t±* 


love  sin 

solve  my 

give  the 


cere  and   strong ;  For  the  day's 

task         to         do,      All  that  glads 
fault        to    -    day ;  May  each  eve 


=g-g-g 

P      P      * 
past  hours  of 
me     in     pos 
ning's  dy  -  ing 


=3F 


^r^^t^z^ 


^^^ 


For    the  day's  past  hours     of 

All    that  glads  me       in      pos 

May   each  eve-ningrs    dy  -  Ing 


S=gE^± 


fe 

P 


glad  -  ness, 
sess  -  ing, 
beau    -  ty 


For      all      sor  -  row, Lord, 
Were    not    mine,  save    for 
Find      ac  -  com-plish'd    ev 


and  sad  -  ness,  Let  me 
thy  bless  -  ing,  Watch  -  ful 
'ry       du    -      ty,     Find    me 


=*: 


^ 


EE^ 


*-r— ^L 


n> 


IS 


f 


i2^*±: 


praise  Thee 
Fa  -  ther, 
far    -  ther 


f 


p       pi  r         p 

in        my  song,  Let        me 

tire  -  less,  true,  Watch  -  ful 

on        my  way,  Find      me 


.-H — J— J 


r 


32: 


1 


praise  Thee  in  my  song. 
Fa  -  ther,  tire  -  less,  true, 
far  -    ther    on        my      way. 


^^ 


w=^m- 


H«r.   Fourth  Readtr. 


.128 


Vocal  Drill. 


Di,       ri,  fl. 


Ch.  Ser.  G,  pages  9  and  17 
Ex.  190. 

-3     _    i  a- 


-H — F— rra — I   J  ^ i-*--^ — *— ^-3 N 1 t — i™^"^ 


II 


Ex.  191. 


f§^ 


^—i ta=3 


II 


=s^=p= 


:£=^ 


i=3* 


s 


*  -   » 


•    3*1 


Ex.  192 


EgS — E — B 


:*=£» 


fbt 


iF^fl 


Ex.  193. 


PlppipilgiP^^^i^^i 


Ex.  194. 


m 


^MMe^ 


=a=d= 


?=*** 


3tEl-Jt 


-3-*-»- 


Fourths  embrace  four  staff  degrees,  but  they  vary  somewhat  in  the  number  of  minor 
seconds  which  they  contain. 

The  fourth  from  Do  to  Fa  contains  one  minor  second  and  two  major  seconds.  (Do,  Re, 
major,  Re,  Mi,  major,  Mi,  Fa,  minor.)     This  is  called  a  perfect  fourth. 

But  the  fourth  from  Fa  to  Ti  contains  three  major  seconds,  and  is  larger  than  the  perfect 
fourth.     It  is  therefore  called  the  augmented  fourth. 

The  effect  of  the  augmented  fourth  on  the  ear  is  so  striking  that  very  little  practice  en- 
ables us  to  distinguish  it  whenever  given,  and  it  is  so  important  in  modulation,  that  it  should 
be  very  carefully  learned.     See  Ch.  Ser.  G,  page  21. 

Har.  Fourth  Reader 


Vocal  Study. 


129 


Ex.  195. 


Luigi  Rossi. 


1 


-£2 *-*■- 


r     i  r 


w=^ 


m^ 


^EfcE 


z{f=EEEEE==t: 


*      X 


,*-»S    1 


r"JJ7jTT77^ 


E 


iH 


3E 


*a — ±J!zwzj. 


p-f-H>-T-^— J— ^TT  — i^-.— P=u-H — j- — (-— — FF f- 


i 


^=#-^ 


5=ffi? 


se^tce^ 


^ 


-*-«- 


Pr^i     ■     ,-tti 


SS^^S 


-f  •  I      Li- 


& 


f  Cf  fff  K-f 


^t=F 


<s 


-<g — = 


i n- 


^5- 


:££& 


?CSff 


EEf* 


II 


The  fourth  from  Re  to  So]  is  equal  to  two  major  and  one  minor  second,  and  the  fourth 
from  Mi  lo  La  is  equal  to  the  same.     These  are,  therefore,  also  perfect  fourths. 

When  Fa,  Ti  is  sung,  the  voice  inclines  to  pass  at  once  to  Do,  while  if  the  reverse  is 
sung,  Ti,  Fa,  the  voice  tends  to  pass  to  Mi.     See  Chart  Ser.  G,  page  20. 


^EEZE^^£Z^-~-=t^==& 


H»r.  Fourth   Retd«r. 


130 

Clefs. 

Clefs  are  signs  used  to  indicate  the  pitch  assigned  to  the  staff  degrees. 
The  clef  may  also  indicate  the  voice  for  which  the  part  is  intended. 

Three  clefs  are  in  common  use.     They  are  the  G  clef,  indicating  the 

part  to  be  sung  by  soprano  or  unchanged  voices  ;  the  F  clef,  indicating  the 

part  for  changed  voices ;  and  the  C  clef,  which, indicates  that  the  part  is  to 

be  sung  an  octave  below  where  it  is  written  and  by  tenor  voices. 

Note.  The  tenor  part  is  frequently  written  on  a  staff  bearing  the  G  clef.  In  such 
cases  the  part  is  designated  by  the  word  tenor,  and  is  to  be  sung  an  octave  below  where  it  is 
written. 

As  all  musical  notation  is  relative,  a  change  in  the  clef  adds  no  diffi- 
culty for  the  singer.  By  this  we  mean  that,  since  the  position  of  Do  (the 
key  tone  in  the  major)  is  always  indicated  by  the  key  signature,  the  last 
sharp  being  on  seven,  and  the  last  flat  on  four  of  the  scale,  it  is  equally  easy 
for  all  singers  to  sing  all  parts,  and  sopranos  should  be  as  well  able  to  sing 
the  bass  as  to  sing  the  melody,  and  contrariwise  it  is  just  as  easy  for  bass 
singers  to  sing  the  melody  as  it  is  to  sing  the  bass. 

A  difficulty  arises  in  part  music,  however,  if  the  melody  is  sung  by 
persons  having  bass  voices,  as  it  gives  two  melodies  an  octave  apart  and 
destroys  the  harmony.  Similarly  in  the  same  kind  of  music,  if  persons 
with  soprano  voices  sing  the  bass,  tones  occasionally  rise  above  the  melody 
and  completely  destroy  it.  Illustration, —  (a)  shows  the  relation  of  tones 
when  the  lower  part  is  sung  by  basses  alone ;  (5)  shows  the  relation  of  tones 
when  the  lower  part  is  sung  by  basses  and  sopranos  together. 
(a)  (o) 


In  introducing  the  Bass  clef,  we  have  selected  exercises  which  are  so 
written  that  the  part  for  changed  voices  may  be  sung  by  sopranos  without 
destroying  the  melody,  as  no  tone  in  the  bass,  even  if  raised  an  octave* 
will  rise  above  the  soprano  part.  Har_  Fourth  Reader 


131 


Ex.  196. 


J.   S.  CUBWIN. 


— — *--?s- 


3^E 


*=?tr=F- 


pfeH 


--£z==&YT^* 


SS? 


2= 


ip  r  p  »- 


1221 


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Ex.  197. 


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Har    Fourth   R«ad*r. 


132 


With  spirit. 


COME,  BROTHERS,  TUNE  THE  LAY. 

IGNAZ    Musi   IIKI.KS 


I 


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1.  Come, broth  -  ers,     tune 

2.  Now     we      with     Pri 

3.  So      far    there's  noth 

±. 


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the  lay,  Come, brothers,  tune  the  lay,  For 
mo  start, Well  take  the  Al  -  to  part,  The 
ing     wrong, So    far  there's  nothing  wrong,  For 


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all  who  can 
rest  will*  try 
ev    -  er        live 


sons 


must  sing      to  -  day;   Ye       jo  -  vial       sons  of 

their     cho  -  ral     art ;  Now   you,    sir,  mind  what  you're  a- 
the     soul      of     song;  Let      all      the        bur      -       den 


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(— — »■— l—  F— m—  F — i — 


song !  Ye  jo  -  vial  sons  of  song !  Here  at  pleas  -  ure's  sum  -  mons 
bout !  Mind, mind  what  you're  a  -  bout !  Now  keep  time  or  else  you'll  all  be 
share,  Let     all     the  bur  -  den  share,      And    Mu    -  sic's      glo  -   rious  praise  de- 


p  cres        .... 


cen 


■A 


throng. Now,  pray, let  all    be     har-mo  -  ny,  Be-ware, 
out.  Now,  pray, let  all    be     har-mo  -  ny,  Be-ware, 
clare  !  Bra- vis   -  si  -  mo !  What  har-mo  -  ny  !  A  -  ha ! 


IeH 


be  -  ware !  Now, 

be  -  ware  !  Now, 

a    -   ha !  Sweet 


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Now,  pray,  let    all     be        har-mo  -  ny,    Be  - 

Now,  pray,  let    all     be        har-mo -ny,    Be- 

Bra  -  vis  -  si  -  mo! What      har-mo  -ny!    A  - 

Har.  Fourth   Reader. 


133 


do. 


: 


pray, let  all    be    har-mo-ny,  Take  care, 

pray, let  all   be    har-mo-ny,  Take  care, 

har-mo-ny,  brave  harmony  !  A  -  ha ! 


take  care, 

take  care, 

a   -  ha! 


That  all  who  hear  may 
That  all  who  hear  may 
Vic  -  to  -  ri  -  a,    a 


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ware, 

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ware, 

be- ware! 

ha! 

a  -    ha! 

Now,  pray,  let  all  be  har-mo-ny, 
Now,  pray,  let  all  be  har-mo-ny, 
Sweet   har  -  mo-ny.brave  har  -  mo  -  ny ! 


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praise  the  strain,  A-gain,  and  yet  a  -  gain. 

praise  the  strain,  A-gain,  and  yet  a-gain. 

no  -  ble  strainlWe'll  have  it  yet  a  -  gain. 

i: 


Tra  la  la,  tra  la  la, 
Tra  la  la,  tra  la  la, 
Tra  la   la,  tra  la  la, 


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. 


if  _r  r-r 


A  -  gain  and     yet       a  -  gain. 

A  -  gain  and     yet       a  -  gain. 

We'll  nave  It       yet      a  -  gain. 


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tra  la  la  la  la  la  la,  Tra  la  la,  tra  la  la,  tra  la  la  la  la. 


ffi=3-/ j^j^fcEifflB 


Ad  lib.,  ad  libitum,  at  one's  pleasure,  as  one  wishes. 

Har.    Fourth  Reader. 


134 


YE   WHO    SHUN   THE    HAUNTS   OF    CARE. 


David  Thomson. 


u  Andante. 


W.  A   Mozart. 


SE^J 


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1.  Ye     who  shun  the     haunts  of       care,     To     our    f or  -  est  wilds  re    -    pair, 

2.  Naught  is  heard  the     gale      to       swell,  Save  the  wood-man  in      the       dell, 


He 


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Where  thro'  clear,ee  -  ru    -    lean     air      Phoe-bus    ris  -  es  bright      -      ly ; 
And   the      sol-emn    Sab  -  bath     bell,     Far     a -long  the   nioun      -      tain. 


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Here  thro' nev  -  er  -  end -in g  shades,       You   may  rove   till     eve  -  ning  fades, 
Here   no  noise   at  dawn   of      day         Drives  your  dream  of    bliss     a  -  way, 


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you 
drives 


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Here  thro'    nev  -  er  -    end  -  ing     shades  You    may     rove    till 

Here    no     noise   at     dawn     of       day  Drives  your   dream  of 

may      rove, 
your    dream, 


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eve -ning  fades, may  rove,     may    rove      till         eve  -  ning 
bliss     a  -  way, your  dream,  your   dream  of  bliss     a 


a 


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eve  -  ning   fades, 

You 

mav   rove 

till 

eve   - 

ning 

fades. 

bliss     a   -  way, 

Drives 

your  dream 

of 

bliss 

a 

way. 

Har.  Fourth  Reader 

135 


— F~i — r 


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Nev  -  er    '  has    the     po   -    et's  rhyme  Feigned  a   sweet  -  er,    soft  -  er      clime, 
Yet    the   wood-lark    hov  -  'ring  nigh    Sings    as    morn  -ing  opes     her      eye, 


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Where   the    rest  -  less   foot     of       time  Moves   a  -  long  more    light    -    ly. 
And       at     eve       a      lull  -  a     -     by     Near  yon  mur-nVring  foun  -    tain. 


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I   DREAM   OF   ALL   THINGS   FREE. 


Felicia  Hemans. 
mp  Allegro. 


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1.  I  dream  of   all    things  free,   . 

2.  I  dream  of  some  proud  bird,  . 

3.  I  dream  of   for  -  est     child, 


.    Of      a    gal  -lant, gal  -lant 

Of    a  bright-eyed  moun-tain 

With  the  fawns  and  flow'rs  at 


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1.  I  dream   of     all  things  free,  . 

2.  I  dream   of  some  proud  bird, 

3.  I  dream    of     for  -  est  child, 


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Of  a     gal  -  lant,  gal      -      lant  bark,  .    .    .       That 

Of  a  bright-eyed  moun    -    tain  king,  ...  In 

With  the  fawns  and  flow'rs        at     play;   ...  Of 


Allegro,  lightly  and  quickly. 

Har.   Fourth   Reader. 


13b" 


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bark,  .  .  That  sweeps  thro1  storm  Like  ar  -  row  to  its  mark !  Of  a 
king !  .  .  In  rap  -  ture  hear  The  rush  -  ing  of  his  wing,  Then  I 
play ;    .     .        Of     In  -  dian  wild  With  stars  to  guide   his     way,  Of    a 


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sweeps  thro'  storm.thro'  storm  and  sea,  Like  ar  -  row  to  its  mark ! 
rap  -  ture  I  still  hear,  still  hear  The  rush  •  ing  of  his  wing, 
In  -  dian,  In   -  dian, 'midst   the     wild.With  stars      to     guide  his      way, 


cres. 


stag    that  o'er    the  moun  -  tain   Goes  bound-ing     in       his      glee,      Of       a 
fol  -  low  some  wild    riv  -    er  Where  no    trim  sail    may    be,  Dark 

chief    his   war  -  riors  lead  -  ing,     Of    arch  -  er's  greenwood    tree,        While 


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thou  -  sand  flash-  ing     foun    -    tains ; 
woods      a  -  round  us     shiv      -     er; 
lone  -  ly     heart  lies    bleed    -    ing ; 


I  dream  of  all  things  free. 
I  dream  of  all  things  free. 
I     dream      of       all     things  free. 


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Har.  Fourth  Reader 


HOLY,  HOLY,  HOLY! 


137 


*te 


1 


r_U^4 1-    f  ,      1 

J     d      d      d  u 

■      .    ~<      d   h 


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a 


1.  Ho  -  ly,    Ho 

2.  Ho  -  ,y,    Ho 

3.  Ho  -  ly,   Ho 


-<s>- 


=F^=iT 


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-  ly,      Ho 

-  lv,       Ho 

-  ly,     Ho 


iy! 
ly! 


Lorn 


r 


Lorn         God     Al  -  might  -  y ! 
all    the   saints   a   -    (lore   Thee, 
though  the    dark-ness      hide    Thee, 


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Ear     -  ly     in 
Cast   -  ing  down 
Though    the  eye 


fe 


the       morn      -     ing     our     song  shall  rise       to       Thee; 
their  gold  -  en    crowns  a  -  round  the     glass  -  y         sea, 
of         sin  -  ful     man   Thy     glo  -  ry       may      not       see, 


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Ho  -  ly,      Ho   -   ly,       Ho       -       ly !  mer  -  ci    -  ful     and   might  -   y ! 

Cher  -u  -    bim     and      ser  -  a    -    phim       fall -ing  down   be  -  fore     Thee, 

On  -   ly     Thou     art       Ho       -       ly,  there  is      none    be  -  side      Thee, 


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All  Thy  works 
Which  wert 
Per       -       feet 


r  r  r. 


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f^f   i  n^t  r  r  r    * 

shall  praise  Thy  name    in  earth  and  sky     and  sea ! 

and       art,                and  ev   -  er  more  shalt  be. 

in        pow'r,          in  love   and  pu    -   ri  -  ty. 


H»r.  courth  Reader 


jPTTg 


H~ 


■d — ' — <s> u 


138 


OXFORDSHIRE    MAY    SONG. 


Allegretto. 

Spring 


is        com 
ores.     .     . 


ing,       spring 


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1.  Spring       is       com  -  ing,      is       com   -  ing,       Bird     -  ies, 

2.  Spring       is       com  -  ing,      is       com   -  ing,       Flow'rs  are 

3.  Spring       is       com  -  ing,      is       com   -  ing,       All  a  - 


*1^ 


Spring 


nest;  .  .  . 
too;  .  .  . 
fair;    .    .    . 


build        your  nest,  build  your      nest ;  Weave  to  -  geth     -     er,     weave 

com    -     ing      too,  com  -  ing      too ;  Pan  -    sies,     lil     -     ies,       and 

round        is       fair,    all       is         fair ;  Shim  -  mer,  quiv    -     er  on 


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Weave  to-geth  -  er.weave 
Pan  -  sies,  lil  -   ies,  and 
Shim-mer,  quiv  -  er     on 


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straw   and       feath  -  er,     Do     -     ing         each     your         best, 
daf     -   fo  -     dil     -  lies,  Now         are  com  -  ing  through, 

qui  -     et        riv    -     er,    Joy  is  ev    -    'ry     -      where. 


33: 


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Har.  Fourth  Reader. 


139 


THE   WORLD'S   MUSIC. 


Gabriel  Setown. 


George  Henry  Howard. 


T   f 

1.  The  world's     a        ver 

2.  The  twigs     that   shake, 

3.  The  coals       be  -  neath 

4.  The  Avorld       is       such 


y 

the 
the 
a 


r     * 

hap  -   py      place,  Where  ev    -   'ry 

boughs  that  sway,  And     tall       old 

ket    -   tie     croon,  And    clap      their 

hap  -   py      place,  That    chil  -    dren, 


-=t — =4- 


child    should 
trees       you 
hands      and 
wheth  -  er 


dance  and 
could  not 
dance       in 


sing, 

climb, 

glee; 


And       al    -   ways     have         a 
And    winds     that      come       but 
And      ev'n       the         ket    -    tie 


big 


or         small,       Should      al    -   ways     have 


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smil  -  ing  face,  And  nev  -    er  sulk  for       an    -    y    -  thing, 

can       not  stay,  Are  gay  -    ly  sing    -  ing       all       the  time, 

hums   a  tune,  To  tell  you  when  it's  time      for  tea. 

smil  -  ing  face,  And  nev  -   er,  nev    -  er  sulk        at  all. 


i 


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»<ar,  Fourth  Reader. 


=r 


140 


John  Henby  Newman. 


LEAD,  KINDLY   LIGHT. 


J.  B.  Dykes. 


1.  Lead,kind  -  ly  Light !   a  -  mid  th'en-cir- cling  gloom,        Lead   Thou  me 

2.  I     was   not     ev  -  er  thus,  nor  pray 'd  that  Thou     Should'st  lead  me 

3.  So   long  Thy  power  has  blest  me,  sure   it      still  .   .       Will     lead  me 

4  4  4  ,4. ■  /  j  j  J  j  \jJ-4A  A  ^J 


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on :  The  night  is  dark,  and  I  am  far  from  home, —  Lead  Thou  me 
on :  I  loved  to  choose  and  see  my  path ;  but  now  —  Lead  Thou  me 
on    Thro'  drear  -  y  doubt, thro'  pain  and  sorrow,    till  The  night       is 


%i^R 


on.  Keep  Thou   my 

on.  I     loved   the 

gone,      And,  with    the 


feet: 

gar 

morn, 


I       do 

ish   day ; 
those   an  - 


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fears,  , 
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Pride  ruled 
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scene,—  one  step  e  -  nough 
will :  re  -  mem-ber  not  . 
loved     long  since, and     lost  . 


for      me.  .  . 

past     years. 

a       while. 


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Har.  Fourth  Reader. 


PART   II. 
PATEIOTIO   AND  DEVOTIONAL   SONGS. 

AMERICA. 


S.  F.  Smith. 


Henry  Caret  ( ?). 


I 


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1.  My  coun-try!       'tis         of     thee,  Sweet  land  of  lib  -  er  -  ty, 

2.  My  na  -  tive  coun  -  try,  thee —  Land    of  the  no  -  ble  free — 

3.  Let  niu  -  sic  swell      the  breeze,    And   ring  from  all  the  trees, 

4.  Our  fa-  thers'  God!       to     Thee,     Au  -  thor  of  lib  -  er  -  ty, 


i 


gfr-n-=ns 


Of      tliee       I       sing; 

Thy   name     I        love; 

Sweet  free  -  dom's  song ; 

To      Thee    we     sing; 


~0- 


Land  where  my     fa  -  thers  died !  Land     of     the 
1         love     thy    rocks   and    rills,  Thy  woods  and 
Let      mor  -  tal  tongues  a  -  wake  ;  Let      all     that 
Long    may    our     land     be  bright  With   free-dom's 


Pil-grim's  pride  !  From  ev   -  'ry  moun-tain  side     Let  free  -  dom    ring. 

tem  -  pled  hills  ;  My       heart  with  rap  -  ture  thrills  Like  that      a     -  bove. 

breathe  par-  take  ;  Let      rocks  their  si-  lence  break,  The  sound  pro  -  long. 

ho  -    ly  light;  Pro    -  tect     us  by      Thy  might,  Great  God,    our     King. 


H.ir.   fourth   Reader. 


(141) 


142 


BLESSED   ARE   THE   MERCIFUL. 


Matthew,  v:  7. 


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Bless  -  ed  are    the  mer  -  ci  -  ful    for  they  shall   ob  -  tain 


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Bless  -  ed  are    the  ruer  -  ci  -  ful    for  they  shall   ob  -  tain 


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mer  -  cy.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


y- 


mer  -  ey.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


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Har.  Fourth  Reader. 


143 


ONWARD,    CHRISTIAN   SOLDIERS. 


Eev.  8.  Baring-Gould. 


Sir  Arthttb  S.  Sullivan. 


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1.  Onward, Christian  sol    -     diers,  Marching  as  to  war,  With  the  cross  of  Je  -  sus 

2.  At  the  sign  of       tri    -    umph  Satan's  host  doth  flee;  On,  then,  Christian  soldiers, 

3.  Like  a  might-y       ar    -      my  Moves  the  Church  of  God ;  Brothers,  we  are  treading 

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Go  -  ing    on    he  -  fore !  Christthe  roy-al       Mas  -  ter    Leads  a-gainst  the    foe ; 
On      to    vie  -  to  -    ry!  Hell's  founda-tions  qniv  -  er       At   the  shout  of  praise; 
Where  the  saints  have  trod ;    We  are  not    di  -  vid    -   ed,      All  one  Bod  -  y       we, 

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Forward  in  -  to     bat  -  tie,      See, His  banners   go.  Onward.Christian  sol  -  diers, 
Brothers,  lift  your  voi  -  ces,  Loud  your  anthems  raise  I 
One  in  hope  and  doc  -  trine,  One  in  char-  i  -   try. 


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arching  as     to       war,  With  the  cross  of       Je  -  sus     Go  -  ing  on     be  -  fore  ( 

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H»r.    Fourth    RetJai. 


144 


Joseph  Hopkinson. 


3e2 


HAIL,  COLUMBIA! 


Prof.  Phyla. 


i 


I 


Hail,      Co-lum    -    bia !   hap  -  py      land !  Hail,  ye     he  -   roes, 

raor  -   tal    pa  -    triots,  rise   once  more !  De  -  fend  your  rights,  de  ■ 
Sound,      sound     the     trump  of     fame,             Let  Wash  -  ing  • 

hold      the  chief,  who     now    com-mands,Once  more  to   serve     his 


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heav'n-born  band  !  Who  fought  and  bled  in     Freedom's  cause, Who  fought  and  bled  in 
feud  your  shore  ;  Let   no   rude  foe  with     im  -  pious  hand, Let    no   rude  foe  with 
ton's  great  name  Ring  thro'  the  world  with  loud     applause!  Ring  thro1  the  world  with 
coun-try  stands  ;  The  rock  on  which  the    storm    will  beat !  The  rock   on  which  the 


S 


: 


Free 
im 
loud 
storm 


3 


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cause, And,    when   the 

hand,    In  -    vade    the 

plause!Let       ev  -  'ry 

beat!  But    armed  in 


storm   of        war     was  gone,  En 

shrine  where    sa  -  cred  lies      Of 

clime,  to        Free  -  dom  dear, 

vir  -  tue,     firm    and  true,  His 


joyed  the  peace  your  val  -or  won.    Let    in  -   de-pend-ence  be   our  boast, 
toil       and  blood  the  well-earn'd  prize.  While  of-fring  peace,  sincere  and  just,  In 
Lis  -   ten    with      a      joy-ful  ear;  With  e  -  qual  skill,  with  steady  power,  He 
hopes  are    fixed  on  heav'n  and  you.When  hope  wassink-ing     in    dis-may,When 


Ev   -     er 
Heav'n    we 


mind  -  ful 
place       a 
gov  -  ems        in        the 
gloom      ob  -  scured     Co 


what  it 
man  -  ly 
fear  -  ful 
lum  -  bia's 


cost ;  Ev     -  er    grate  -  ful 

trust, That  truth  and    jus  -    tice 

hour       Of      hor    -  rid    war,      or 
day,     His   stead    -     y    mind,    from 


for  the       prize,  Let      its  al 

shall  pre    -    vail,    And      ev  -  'ry  scheme 

guides  with      ease    The     hap  -  pier  time 

chan    -  ges        free,     Re  -  solved  on  death 


tar 

reach 

the 

skies. 

of 

bond  - 

age 

fail. 

of 

hon  - 

est 

peace. 

or 

lib  - 

er 

-    ty. 

Ha 

r.    Feu 

rth   Reader 

145 


I 


Chorus. 

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Firm,     u  -  nit   -  ed        let 


be,     Bal-hing  round  our       lib  -  er  -  ty ! 

I — l"^1 


if  j j  r  ft\&$fT$w&X3^^ 


As     a  band   of      broth-ers    joined,     Peace       and      safe  -  ty     we  shall  find. 


FLAG  OF  THE  FREE. 


Richard  "Wagxeh. 


* 


^s: 


V 


55 


0— 


the      tree,         fair    -   est       to       see !      Borne       thro'      the 
the    brave,       long      may      it     wave,         Cho    -    sen        of 


EE3 


3 


strife     and      the     thun  -  der      of      war ;  Ban  -    ner  made  bright 

God     while   His  might      we       a  -  dore ;     Tn      Lib    -    er  -  ty's     van, 

D.s.  While     thro'    the      sky 

Finb. 


V 


^Ff 


-~ 


I*— 


with   star  -  ry  light,   Float    ev  -  er  proud  -   ly   from  moun  -  tain    to  shore, 
man -hood  of   man,    Sym  -  bol     of  right     thro'   the  years   pass-ing  o'er. 
loud  rings  the  cry,       Un  -  ion  and  Lib   -    er  -  ty !  one       ev  -  er  -  more  J 


3 


dfcd: 


— S«- 


of 


Em    -    blem 
Pride  of 


Free    -    dom,      hope 
coun    -    try,        hon 


fe 


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to         the     slave, 
ored        a   -   far, 

J).S. 


! 


Spread      thy       fair      folds        but        to       shield 
Scat    -    ter        the     cloud       that    would    dark 


and        to     save, 
en         a       star, 


har.    Fourth  Reader 


146 


AMERICA    THE    BEAUTIFUL. 


Katharine  Lee  Bates. 
Maestoso. 


Will  0.  Macfarlane. 


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1.  O  beau-  ti  -  ful  for  spa  -  eious  skies,  For   am  -  ber  waves  of  grain, 

2.  O  beau-  ti  -  f  ul  for  pil-grim  feet,  Whose  stern,  im-pas- sion'd  stress 

3.  O  beau  -  ti  -  ful  for  he  -roes proved,  In     lib   -  er  -  at  -  ing  strife, 

4.  O  beau  -  ti  -  ful  for  pa  -  triot  dream  That  sees     be  -yond   the  years 


3 


I! 


Bass  with  octaves  throughout. 


. 


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For  pur  -  pie  moun-tain     ma  -  jes  -  ties       A  -  bove     the  fruit  -  ed    plain ! 
A    thor-ough-fare  for     free-dom  beat        A  -  cross     the  wil  -  der  -  ness ! 
Who  more  than  self  their  eoun-  try  loved,  And    mer  -  cy  more  than     life ! 
Thine  al   -  a  -  has  ■  ter      cit  -  ies  gleam    Un-dininVd  by    hu  -  man   tears  ! 


J 


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mer  -  l  -  ca 
mer  -  i  -  ca 
raer  -  i   -  ca 


A  -  mer  -  i  -  ca !  God  shed  His  grace    on     thee,  And 

A  -  mer  -  i  -  ca !  God  mend  thine  ev  -  'ry     flaw,  Con  - 

A  -  mer  -  i  -  ca !  May  God  thy  gold     re  -  fine,  Till 

A  -mer  -i  -  ca!  God  shed  His  grace    on     thee,  And 


+ 


* 


* 


By  permission  of  the  author. 

Copyright,  1913,  by  Will  C.  Macfabiane. 


Har.  Fourth  Reader 


147 

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firm      thy  soul 

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all       sue  -cess 

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crown    thy  good 

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A  -  mer   -    i   -   ca !     A  -  mer  -  i  -   ca !     God   shed     His  grace     on     thee ! 


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II 


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HEAVENLY  FATHER,  SOVEREIGN  LORD. 

SONOS    FOR    THE    SaNCTOARY.  Ff.LIX    MENDELSSOHN. 


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1.  Heav'n-ly    Fa  -  ther,  sov'reign  Lord,  Be   Thy   glo-rious  name  a     -  dored  ! 

2.  Though  un-wor  -  thy,  Lord,  Thine  ear  Deign  our  hum-  ble  songs  to  hear; 

3.  While   on  earth     or-dained  to    stay, Guide  our  foot-steps   in     Thy  way, 

4.  Then  with  an   -   gel  harps   a  -  gain   We   will  wake    a     no-  bier  strain; 


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Lord,  Thy   mer-cies   nev  -  er     fail;   Hail,  ce 
Pur-er   praise  we  hope  to   bring  When   a 
Till    we   come    to  dwell  with  Thee,  Till  we 
There,  in       joy-  ful  songs  of   praise,  Our  tri 

Har.  Fourth  Reader. 


^giggj^^fl 


les  -  tial  good-ness.hail. 
round  Thy  throne  we  sing, 
all  Thy  glo  -  ry  see. 
urn   -   phant  voi  -  ces  raise. 


148 


GOD   EVER  GLORIOUS. 


8.  F.  Smith. 


Alexis  T.  Lwoff. 


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1.  God         ev  -    er       glo    -    ri  -  oust        Sov 

2.  Still       may  Thy    bless  -  ing  rest,        Fa 


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ther    most     Ho   -     ly, 


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Wav     -     ing       the       ban     -     ner        of       Peace 
O      -     ver      each    moun    -    tain,    rock,      riv 


o'er       the       land ; 
er,      and     shore ; 


J      JlJ 


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Thine       is       the 
Sing      Hal  -  le 


vie    -    to  -  ry,         Thine  the     sal   -   va    -    tion, 

lu        -       jah!       Shout  in       ho  -   san    -    nasi 


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Strong       to         tie    -    liv      -      er 
God        keep      our     coun    -      try 


T?-. 


Own  we       Thy      hand. 

Free  ev    -    er  -   more. 


THE   STAR-SPANGLED   BANNER. 


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Francis  Scott  Kev. 
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Dr.  Samuel  Arnold. 


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1.  Oh !        say,   can 

2.  On    the  shore, dim 
3      And      where  is 
4.     Oh!        thus     be       it 


you 

see, 

by  the 

dawn's  ear 

•iy 

light,  What  so 

iy 

seen 

thro'  the 

mist     of 

the 

deep.Where  the 

that 

band 

who  so 

vaunt-ing  • 

■  iy 

swore,  'Mid  the 

er  when  free  -  men  shall    stand      Be    - 


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proud  -  ly  we  hailed  at    the     twilight's  last  gleam-ing?  Whose  stripes  and  bright 
foe's  haughty  host      in  dread  si  -lence  re  -  pos  -  es,     What's  that  which  the 
hav  -  oc    of    war     and  the     bat- tie's  con  -  fu  -  sion,     A  home  and     a 

tween  their  lov'd  home  and  the  war's  des  -o  -  la  -  tion,  Blest  with  vie  -  fry    and 

Hit.  Fourth  Reader. 


149 


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stars  thro'  the  per  -  il  -  ous  fight,  O'er  the  ram-parts  we  watched, were  so 
breeze,  o'er  the   tow-  er  -  ing  steep,      As     it    fit  -    f  ul  -  ly  blows,    half  con  - 

coun  -  try  they'd  leave  us  no  more  ?  Their  blood  has  washed  out  their  foul 
peace,  may  the  Heav'n-rescued    land   Praise  the  Pow'r  that  hath  made  and  pre- 


fefc 


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gal  -  lant  -  ly     stream -ing.  And   the  rock  -  ets'     red     glare,     the  bombs 

ceals,    half     dis  -    clos  -   es  ?  Now     it  catch  -  es      the     gleam      of      the 

foot  -  steps'  poi    -    lu  -  tion.  No  ref  -  u^e   could   save     .     .      the 

served     us       a         na  -  tion.  Then  con-quer    we     must,   when  our 


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burst-ing    in      air,      Gave     proof  thro'  the  night  that  our  flag  was  still  there. 

morning's  first  beam,  In  full   glo  -  ry     re  -  fleet  -  ed, now  shines  in   the  stream. 

hire-ling  and  slave  From  the  ter  -  ror  of     flight  or  the  gloom  of  the  grave. 

cause  it      is     just,      And      this    be  our    mot  -  to,  "In  God    is    our  trust." 

Chorcs. 


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O  .    .  say,      does     that  star  -  span  -  gled  ban  -  ner  yet 

Tis  the  star  -  span  -  gled  ban    -  ner,        oh  long  may  it 

And  the  star  -  span  -  gled  ban    -  ner         in  tri   -  umph  shall 

And  the  star  -  span  -  gled  ban    -  ner         in  tri    -  umph  shall 


wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

H»r.  Fourth  R««d«r. 

the  free  and  the  home  of  the  brave? 

the  free  and  the  home  of  the  brave ! 

the  free  and  the  home  of  the  brave ! 

the  free  and  the  home  of  the  brave! 


150 


COME,  THOU   ALMIGHTY   KING. 


Charles  Wesley. 


Felice  Giakdinl 


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1.  Come,    Thou 

al      - 

might 

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King, 

Help 

us 

Thy 

2.  Come,    Thou 

in 

car 

nate 

Word, 

Gird 

on 

Thy 

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sing,     Help      us       to     praise.      Fa  -  ther   all     glo  -  ri  -  ous, 
sword,    Our    prayer  at  -   tend.  Come  and  thy     peo  -  pie  bless, 


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O'er  all    vie-  to    -    ri-ous,  Come  and  reign   o  • 
And  give  Thy  word  suc-cess  ;  Spir  -  it     of      ho 


*E=EB 


i 


ver    us,     An  -  cient  of     days. 
■   li  -  ness,  On     us     de  -  scend. 


BATTLE  HYMN  OF  THE  REPUBLIC. 

Julia  Ward  Howe. 


1.  Mine     . 

eyes        have 

seen 

the 

— =£ 

glo 

-*- 

-    ry 

— * 
of 

£         - 

the 

2.  I        have  seen        Him 

in 

the 

watch 

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3.  I       have  read          a 

fier 

•    y 

gos 

pel 

writ 

in 

4.  He       has   sound  -   ed 

forth 

the 

trump 

-     et 

that 

shall 

5.  In       the     beau    -    ty 

of 

the 

lil 

ies 

Christ 

was 

=2 

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com  -  ing  of       the  Lord ; 

He 

is    1 

—0-i -m m^- 

,ramp-ling  out 

the  vint 

-  age 

where  the 

hun  -  dred  cir-cling  camps  ;They  have 

build - 

ed  Him 

an    al  - 

tar 

in        the 

burnished  rows   of  steel :    ' 

'As 

ye 

deal    with  My 

con-  tem 

-ners, 

so      with 

nev  -  er    call     re-  treat ; 

He 

is 

sift  - 

ing  out 

the  hearts  of 

men      be  - 

born      a -cross   the   sea, 

With   a 

glo  - 

ry    in 

His  bos 

-  om 

that  trans- 

Ha 

r. 

-ourth   Reader. 

151 


5=d*=zfc:z£z — ft — fa: 


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grapes   of  wrath   are  stored ;  He  hath  loosed  the  fate  -  ful    light  -  ning  of     His 

even  -  ing  dews  and  damps  ;    I     can  read    His  right  -  eous  sen  -  tence  by     the 

you     My  grace  shall  deal :    Let  the  He    -   ro    born    of    worn  -  an  crush  the 

fore     His   judg-ment  seat :    Oh,    be  swift,    my   soul,    to       an-  swerHim!,be 

fig  -  ures   yon    and     me ;     As    He  died      to   make  men     ho   -   ly,     let      us 


. 


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ter   -   ri  -  ble    swift  sword ;  His  truth 

dim       and  flar  -   ing  lamps  :  His  day 

ser  -   pent  with      his  heel,    Since  God 

ju    -    bi  -  lant,     my   feet !     Our  God 

die        to   make    men  free,  While  God 

Chorus. 


is  march 
is  march 
is  march 
is  march 
is  march  -   ins: 


ing 
ing 
ing 
ins 


on. 
on. 
on. 
on. 
on. 


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Glo  -  ry,  glo-ry,IIal-le  -  lu   -   jah  !       Glo  -   ry,glo- ry.Hal- le  -  lu  -   jah  ! 


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Glo   -   ry,  glo  -  ry.Hal  -  le  -  lu  -   jah!  His  truth      is     march -ing    on. 


H»r.   Fourth  Reader 


152 


0   PARADISE. 


Frederick  W.  Faber. 


Joseph  Barnby. 


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1.0  Par  -  a-dise!  0  Par  -   a  -  dise !  Who      doth     not   crave    for 

2.  0  Par  -  a  -  disc !  O  Par  -   a  -  dise  !   The     world     is     grow  -  ing 

3.0  Par  -  a-dise!  O  Par   -   a  -  dise  !  Where  -  fore  doth  death     de  • 

4.  O  Par  -  a  -  dise !  O  Par  -   a  -  dise !      I        want     to      sin       no 


rest  ?  Who  would  not  seek  the  hap  -  py  land, Where  they  that  loved  are 
old ;     Who  would  not    be      at  rest     and  free,  Where  love      is      nev   -  er 

lay  ?  Bright  death,  that  is  the   wel  -  come  dawn  Of      our       e    -   ter  -   nal 

more ;      I     want     to     be      as  pure     on   earth    As       on  thy    spot  -  less 


■A, 


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blest?  Where  loy  -  al  hearts,  and  true, 

cold?  Where  loy  -  al  hearts,  and  true, 

day.  Where  loy  -  al  hearts,  and  true, 

shore.  Where  loy  -  al  hearts,  and  true, 


Stand 

ev   - 

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in 

the 

Stand 

ev  - 

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in 

the 

Stand 

ev   - 

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in 

the 

Stand 

ev  - 

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in 

the 

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light,  All    rap  -  ture  thro'  and  thro',  In   God's  most  ho  -  ly   sight.     A-mex. 


JERUSALEM  THE  GOLDEN. 

Bernard  of  Cluny.  .  Alexander  Ewing. 


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1.  Je   -   ru  -   sa  -   1cm     the    gold    -   en,    With   milk   and     hon  -   ey     blest: 

2.  They  stand,  those  halls     of        Zi     -     on,       All      ju     -    bi  -  lant     Avith    song, 

3.  There    is      the  throne   of       Da     -   vid,     And  there,  from  care       re  -  leased, 


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Be   -  neath   thy     con  -  tem  -   pla   -   tion,    Sink  heart   and   voice     op -pressed. 
And     bright  with    many    an       an   -     gel      And      all      the      mar  -  t}r   throng. 
The      song     of      them  that     tri  -   umph,  The  shout     of     them  that    feast. 


Har.  Fourth  Reader. 


153 


fem=3^dlgE=E=l 


I    know   not, 
The  Prince  is 


oh,        I      know     not,     What    joys        a  -  wait     me    there ; 
ev    -   er      in        them,     The     day    -  light  is        se   -  renc ; 


And  they    who    with    their  Lead   -    er        Have   con  -  quered  in       the    fight, 


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What    ra  -  dian  -  cy       of      glo     -    ry,     What    light     be  -  yond     com-pare. 
The    pas  -  tures    of      the     bless  -   ed        Are    decked  in     glo  -  rious  sheen. 
For  -  ev  -    er      and     for  -  ev     -     er        Are      clad      in     robes      of  white. 


PORTUGUESE   HYMN. 


James  Montgomery. 


J.  Beading. 


H — |--j 


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1.  The     Lord       is      my    shep  -  herd,  no       want     shall     I         know;  I 

2.  Let      good  -  ness   and    mer    -  cy,    my      boun    -    ti  -  ful       God,  Still 


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deems  when  op- press'd,  Re   -  stores  me  when  wand'ring.redeems  when  oppressed, 
kingdom  of     love,  Thro' the  land     of  their   so  -  journ, Thy  kingdom  of  love. 


Htr.  Fourth   Reads'. 


154 


COLUMBIA,  THE   GEM  OF   THE   OCEAN. 


D.  T.  Shaw. 
Spirited 


D.  T.  Shaw. 


1.  Oh  !  Co-lum  -  bia,  the  gem  of  the     o-cean,      The  home  of  the   brave  and  the 

2.  When  war  wing'd  its  wide  des-o  -  la  -  tion,       And  threaten'd  the  land     to  de  - 

3.  The     star-span-gled  ban-ner  bring  hith-er,  O'er  Co-lum-bia1s  true  sons  let  it 


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The       ark    then    of    free-dom's  foun-da  -  tion,  Co    - 

May  the  wreaths  they  have  won  nev  -  er  with  -  er,  Nor     its 


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world  of  -  fers  horn  -  age  to  thee, 
lum  -  bia,rode  safe*  thro'  the  storm ; 
stars  cease  to    shine  on  the  brave. 


Thy     man-  dates  make  he  -  roes  as  - 

With     gar-lands    of    vie  -  t'ry   a  - 

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flag  proud-ly  float-ing  be-fore  her, 
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The  boast  of  the  red,  white, and  blue. 
Three  cheers  for  the  red,white,and  blue. 


Har.  Fourth  Reader. 


MARCH  OF  THE  MEN  OF  HARLECH. 


155 


William  Duthie. 


Welsh  National  Song. 


1.  Men     of  Har- lech  !  In  the    hoi  -  low, Do    ye    hear,  like  rush-in  g    bil -low, 

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Hurl   the  reel-  ing  horse  -man   o  -  ver,  Let  the  earth  dead  foe-  men   cov-  er ! 


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they  knights, or  hinds,  or     yeo  -  men,  They    shall  bite     the  ground ! 
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Strike      for  home,   for  life,   for    glo  -    ry !  Free-dom !   God,     and  Right ! 

Har.  Fourth  Reader. 


156 


PRAISE   THE   LORD. 


Bishop  Richard  Makt. 


Joseph  Hatdw. 


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Ileav'n  and  earth,  and    all  ere  -  a  -  tion,  Laud  and   mag  -  ni    -  fy    His    name. 


H»r.   Fourth  Reader. 


157 


HOLY   NIGHT. 


Michael  Haydn. 


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Je  -  sus,  Lord,  at  Thy     birth ! 


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GUIDE   ME, 
Rev.  W.  Williams. 

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INDEX. 


Page  Poet  or  Source                         Composer  or  Source 

141  America S.  F.  Smith Henry  Carey  (?) 

146  America  the  Beautiful ....     Katharine  Lee  Bates  ....      Will  C.  Macfarlane 

117  August Celia  Thaxter 

150     Battle  Hymn  of  the  Republic    .     Julia  Ward  Howe 

118  Battle  Prayer ' p.  H.  ilimmel 

10     Begone!  Dull  Care English  Air,  17th  Century 

142  Blessed  are  the  Merciful  .  .     Matthew,  v  :  7 

63     Blow,  Blow,  Thou  Winter  Wind     William  Shakespeare R.  J.  S.Stevens 

38     Blow,  Bugle,  Blow       ....     Lord  Tenuyson F.  W^  Jones 

86     By  the  Brook Franz  Abt 

154  Columbia,  the  Gem  of  the  Ocean     D.  T.  Shaw D.  T.  Shaw 

132     Come,  Brothers,  Tune  the  Lay Ignaz  Moscheles 

150     Come,  Thou  Almighty  King      .     Charles  Wesley Felice  Giardini 

103     Dewdrops  Gleam,  The     .     .     .     John  Guard Felix  Mendelssohn 

91     Early  Spring Robert  Schumann 

22     Envy Charles  and  Mary  Lamb 

78     Faith p.  Silcher 

33     Fatherland,  The Edvard  Griey 

145     Flag  of  the  Free  Richard  Wagner 

148     God  Ever  Glorious       .     .     .     .     S.  F.  Smith Alexis  T.  Lwoff 

158  Guide    Me,    O     Thou   Great   {      ,,        „,   „T.„.                                                     „   _..    ., 

Jehovah!  (      liev-  W*  Wllliams F-  Uerold 

144     Hail,  Columbia! Joseph  Hopkinson Prof.  Phyla 

100  Heavenly   Father,  Hear  Our  ) 

Cry [ 

147  Heavenly   Father,   Sovereign  )      Songs  for  the  Sancfcuary  ....  Yelix,  Mendelssohn 

137     Holy,  Holy,  Holy!    .     .     .     .     .     Bishop  R.  Heber T.  B.  Dykes 

157     Holy  Night ...  Michael  Haydn 

135     1  Dream  of  All  Things  Free      .     F'elicia  Hemans 

58     I  will  Fxtol  Thee Psalm  145 liinck 

49     In  the  Alps Cornelius  Gurlitt 

152     Jerusalem  the  Golden  .     .     .     .     Bernard  of  Cluny Alecander  Ewing 

125  Kindly    Stars    are    Peeping,    | Franz  Liszt 

73     Ladybird 

123     Ladybird Caroline  B.  Southey 

140     Lead.  Kindly  Light     ....     John  Henry  Newman J.  I>.  Dykes 

46     Lift  is  High  and  Blue,  The  .     .     Dinah  Maria  Mulock ,/.  Sneddon 

110     Little  Screech  Owl,  The Robert  Schumann 

155  .March  of  the  Men  of  Harlech  William  Duthie Welsh  National  Song 

31     Men  of  War  at  Anchor    .     .     .     James  Smith        F.  Silcher 

126  Mid  This  Evening's  Splendor 

Har.    Fourth   Reader.  159 


1G0  INDEX. 

Page  Pokt  or  Source                       Composer  or  Source 

14     My  Bark  is  Bounding  to  the  Gale Felix  Mendelssohn 

41  New  Year's  Eve Welsh  A ir,  "  Nos  Galam  " 

36     Night  Hymn  at  Sea       ....     Felicia  Hemans H.  G.  Tkompton 

84     O  Form  of  Purest  Splendor Felix  Mendel **<■/,, 

152  O  Paradise Frederick  W.  Faber Joseph  Bat 

82     On  the  Sea Q,  Dombietti 

35     One  by  One     .......     Adelaide  A.  Proctor 

143  Onward,  Christian  Soldiers   .     .     Rev.  S.  Baring-Gould     .     .    Sir  Arthur  S.  Sullivan 

138  Oxfordshire  May  Song 

153  Portuguese  Hymn James  Montgomery J.  Heading 

156     Praise  the  Lord Bishop  Richard  Mant Joseph  Haydn 

106    Praise  the  Lord W.  Vere  Mingard      .     .  F.   W.  Farringlon 

25     Return  of  Spring tidbert  Schumann 

28     River  Song F.  C.  Maker 

42  Roaming Rev.  Dr.  Troutbeck Franz  Abt 

76     Rockaby,  Lullaby J.  G.  Holland //.  Ernest  Xichol 

68     Rose!   What  dost  Thou  Hear  ?    .     Felicia  Hemans 

70     Silver  Swan,  The .     .    Orlando  Gibbons 

64     Since  First  I  Saw Thomas  Ford 

13     Sing  Not  to  Me  of  Sunny  Shores     James  Little J.  Sneddon 

92     Soldier,  Rest ! James  Thomson 

112     Song  of  Summer,  A 

148  Star-Spangled  Banner,  The    .     .     Francis  Scott  Key      .     .     .     .Jr.  Samuel  Arnold 

16    Three  Ravens,  The English  Air.  J 6th  Century 

97     Wandering Franz  Schubert 

56    Whale,  The Dr.  Callcott 

50     When  will  Spring  Return  ?    .     .     W.  Hodgett J.  Frank  Proudman 

19     Wind  and  Sea     ......     Bayard  Taylor /  Spencer  Curuen 

139  World's  Music,  The      ....     Gabriel  Setown      ....     (.e>rge  Henry  Howard 

134  Ye  Who  Shun  the  Haunts  of   |      r.     •  i  rn.  „                                                tit-    a    w        t 

£  >      David  Thomson W.A.Mozart 


Hsr.   Fourth   Reader. 


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